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Gordy G 7035 (B), August 1964
B-side of Girl (Why You Wanna Make Me Blue)
(Written by Smokey Robinson)
Stateside SS 348 (B), October 1964
B-side of Girl (Why You Wanna Make Me Blue)
(Released in the UK under license through Stateside Records)
They can’t all be winners.
When I started this project, going through both sides of every last Motown single, I already knew some B-sides were better than some singles, and I figured there’d be more to discover – things that flew by in a blur when listening to The Complete Motown Singles sets, things by groups I’d never heard of, things by groups I definitely had heard of but tracks I’d overlooked.
But I also knew there’d be some B-sides that were forgotten because they deserved to be forgotten. Hastily-recorded throwaways, previously-rejected cuts resurrected from the archives to fill space, badly-conceived ideas that never quite came together; they’re all in the mix. Plunge your hand into a stack of Motown 45s and pick out a random seven-inch, stick on the flip without looking at the label; chances are you’ll find something good, and the odds are in your favour (though perhaps not so much on the pre-’64 records we’ve covered here on Motown Junkies), but even with a “reliable” act there’s still always the possibility you’ll pull out a Rock And Roll Banjo Band or a Don’t Take It Away instead. Or, indeed, a Baby Baby I Need You.
This isn’t as bad as either of those, but it’s still an unimpressive mess, at times verging on the unlistenable. On paper, I should love this; Smokey writes and produces a throwback to the Tempts’ earlier “space age doo-wop” sound of 1962, all eerie chord changes and swooping harmonies, Paul Williams and Eddie Kendricks duelling on the lead, definite echoes not only of the past and the astounding Dream Come True (my favourite Temptations record so far) but also the future and the equally astounding You’ll Lose A Precious Love. So what in the hell went wrong here?
For starters, it’s sloppy, in a way that isn’t like Smokey at all. The vocal charts are all over the place – this is an old recording, cut before arrangers and producers had worked out what best to do with Eddie’s skyscraping falsetto, but the harmonies (singled out for special praise in the liner notes to The Complete Motown Singles: Volume 4) are a mess even after you take that into consideration. Eddie’s yelping vocal may be out of control, as was so often the case on the early Tempts’ singles, but Paul isn’t any better, giving maybe the worst lead of his career, flat and off-key.
Meanwhile, Melvin, Otis and Elbridge Bryant combine with the two leads to provide a five-part harmony that never quite matches up with the backing. After hearing the soaring, effortless vocal acrobatics of the ascending chorus on the A-side Girl (Why You Wanna Make Me Blue) – in particular the “…Girl! GIRL! Girl!” part – the equivalent rising harmony bit here (“…that I love you so! so! so! so! so!”) sounds like a horrible joke. Every source I can find gives this a glowing review, and it seems to be much beloved of Temptations fans, but I’m just not hearing it at all. The production’s really weak, too, muffled and quiet in places, loud and buzzingly distorted in others (though maybe this is just my copy, I don’t know).
Even if it had been perfectly recorded and sung, I doubt I’d have fallen for it; the song is plodding and treacly, and if there’s the germ of a good uptempo hit buried within the lugubrious slow-paced balladry, calling for a drastic reinterpretation, it’s snuffed out by the tarry downtempo gravel being slowly spilled over the top. It never threatens to spark into any kind of life, it never grabs the attention (at least not in a good way, though there are plenty of wince-inducing bum notes that raise the eyebrows); it’s just a slog.
It won’t do to be too hard on either the group or the producer, knowing they’d both moved on apace since this was cut back in the autumn of ’63, and knowing what was round the corner; but that still doesn’t make it right. The whole thing is just a chore to listen to, a massive comedown after the rush of the A-side, and if doo-wop afficionados and hardcore Tempts fans want to lap it up then that’s their business; I won’t be playing it 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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Howard Crockett “My Lil’s Run Off” |
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I could not disagree more. Though not your cup of tea, here in the States, especially in Detroit, this record separates the Temps from most other singing groups. These men could really sing and this record proved it.
What you call yelping, wince-inducing and a slog, is a dynamic and soulful reminder of the Temps gospel roots. The fact is the record was so well received that it was included in their live act. If it was as bad you say, why perform it live?
Charles
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Well, you’ve answered that: because it was so well-received!
I did say everyone seems to like it. I just don’t understand why.
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This is an average-quality written song, sung well. How does it deserve only 2 (which would indicate weak song/poorly orchestrated and poorly sung)? I’d give it at LEAST a 4 or 5. How does a weak supper-club song by a has been or never was artist on a label that doesn’t know how to produce that genre rate a 5, when this rates only a terrible 2? I don’t get your rating method!
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Yes you do, you’ve got it exactly right – you just disagree with me. To my ears it’s all three of those things you mentioned (weak song, poorly arranged, poorly sung) – I think it sounds duff, as laid out above. Hence, 2. We obviously have different opinions on when something is well sung. It scores lower than Bobby Breen’s decidedly non-Motown record because to my ears it’s simply not as good đŸ™‚ Your mileage – everybody’s mileage – may differ. In this case, I’m guessing most visitors will differ quite a lot… but I’ve got to be honest about what I don’t like, or the ones I do like become meaningless, if that makes sense.
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đŸ˜® I’m surprised too, Nixon. (But you can give this a minus 2 or worse, and I’m still your loyal follower. đŸ™‚ )
I always thought this was a capable enough b-side, and I enjoy it as well sandwiched between “Things” and “My Girl” on Sing Smokey. Then too, once Smokey and Whitfield take control, leads by Paul became scarce and I’m inclined to treasure them all, including this raw-throat-sounding performance. I don’t think I could make myself drop it below a 5.
Nevertheless, I enjoy it when your reviews prompt an omg! from me, one way or the other.
đŸ™‚
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Nobody needs to preface disagreement with apology – as it says up there, I’ve already had my say. I’ll always be honest, but if I slag off something you love, stand up for it – I can take it as well as dish it out đŸ™‚
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I have to agree with Charles, Robb & Dave L onthis one – at the very least a 5. Maybe, as Dave says, because of its placement on The Temptations Sing Smokey, but I’ve always loved it. Agree or not, though, I always look forward to what you have to say. And, I’m really looking forward to you expounding on You’ll Lose a Precious Love, one of my all-time faves.
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Maybe I’m not the only one this happens to when the next song in line is one we well know.
After “Girl (Why You Wanna Make Me Blue)” went up, and we all made our comments and waited, even though I didn’t put it on any player, I’ve heard nothing but “Baby Baby I Need You” in my head. Once any Motown song gets you, it keeps you!
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Reading between the lines, does that now mean you’ve somehow got Howard Crockett stuck in your head…?
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Oh course not đŸ™‚ Never heard it, but can’t wait to read about it đŸ™‚
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There may be a slight delay, as my computer – barely a year old, readers with sharp memories will recall – has decided to stop working altogether as of 11:30 last night (I’m posting this from work)… all my notes, database etc are safe on an external HD, but at the moment I don’t have a PC upon which to type up new entries, nor to listen to my music library. So, er, yeah.
(My own fault, I’d tried to sort out a Bluetooth problem by going into the CMOS and choosing “Load defaults”, at which point Windows 7 comprehensively failed to load up and Startup Repair did nothing. Changing the SATA settings from RAID (default for some reason?) to ATA at least got me as far as the Windows 7 logo before a blue screen and some emergency options; I’ve set Dell DataSafe going, but I’m quite nervous about what I’ll come home to. If anyone out there knows anything about how to fix this…?)
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Hope you’re making progress in solving your computer problems…Howard Crockett beckons!
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If defragging doesn’t work, or scanning, or finding the problem in “Safe Mode”, then I don’t know what will. My computer went down and I lost everything on it (lucky I had backup disk so I didn’t the info forever), all due to a corrupt program. Wish I could help more, but maybe someone more computer savy can find what’s wrong.
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Interesting notion regarding the way one first hears a song, or rather first gets to know a song, affecting one’s subsequent perception. As I expounded in the Dancing in the Street review, I came to Motown quite late, and so my first exposure to a good 75% of the tracks we’ve covered has been via The Complete Motown Singles, rather than the albums they were later attached to (or in some cases drawn from). You’ve got me wondering if that makes a difference? Certainly the Supremes tracks I know from Where Did Our Love Go seem to be getting an easier ride from me than stuff from LPs I hadn’t heard before TCMS came along.
Anyway, all this dissent is (as always) encouraged! I’d love to hear more, from any of you, about why this one does the business for you – it absolutely doesn’t for me, but we’ve covered that already. I can’t do much about the functions of the site, but I think my ideal situation would be something along the lines of Metacritic, where readers could put their own marks alongside their comments (or even post entirely new reviews in the comment section, as happens on the Freaky Trigger Popular blog about UK #1s). I can’t make it clear enough – just because it’s my project and so my (wordy) opinion appears “above the fold” or whatever, I absolutely, categorically don’t consider my views any more (or less) valid than anyone else’s. Just as it’s nice to get positive feedback when I’ve struck a chord with people, it’s also interesting and horizon-broadening (that’s not a word, Nixon) to hear people’s disagreements. (Otherwise I’d give everything 8 and have a much easier ride!) All ideas are welcome and gratefully received.
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Ah. Well, I LIKE this song as least as much as its flip, but I recognize that it’s not nearly as much of a song – rather, an opportunity for the Temptations to be soulful, sexy, and put us somewhere near Paradise with the seductive glory of their singing.
I LOVE the shared vocals, and I love the delivery of ‘you knew my lips were longing for the kisses you could bring me…’ and the harmony is to die for. I would give it a 7, simply in recognition of the far greater glory of ‘You’ll Lose a Precious Love’ – which is
certainly a 10 for me. ‘Girl’ is a far more accomplished song – but this one isn’t a slog for me, rather a delicious wallow. And we certainly don’t hear Eddie’s contribution the same way – it sounds inspired and crazy to me, and exactly right – in fact, one of the song’s strongest elements is its unity. I confess to being a sucker for songs with the kind of slow rolling undertow this one has – in that respect it reminds me of James Brown’s I Cry in the Chapel Every Night – no masterpiece, but with that wonderful riff (instrumental in his case) carrying the song wherever it has to go, and us along with it.
Perhaps you’re right and context has something to do with it – my sister Mary (v. supra) bought me The Temptations Sing Smokey for Christmas, I guess in 1965, and every song on it has just gone on resonating in my heart ever since.
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This is the first time since these reviews started that I’ve come across a track about which I have absolutely no opinion. Instantly forgettable.
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Actually I like it. I give it a 7, due to it being a fantastic performance (mostly in 5-part harmony) of a otherwise wonderful sounding “misfire”. The reason it’s a misfire is not because it’s badly written (it not to me), or badly performed (it’s defineitly not!!), it just shouldn’t be on a single (but it’s perfect on an LP, espeically the LP it’s on The Temptations Sing Smokey).
(BTW, who has a download picture of said LP? It’s needed for this song and the next two Temptations singles.)
Both TCMS and The Temptations: The Singles Collection 1961-1971 says a lot of why it’s a great recording (and still it is no wear near enough). However here is what I think might have went against it becoming a “B-Side” single:
Most of the song (as mentioned in TTTSC) “is delivered in impeccable five-part harmony,” thus most of the song (and lead) is done by the group in unison; but Paul and Eddie both get a solo spots on the bridge (and Otis and “Al” each had some solo “Harmony Vocals” as well). It’s a great fusion of Doo-Wop, Soul, and Gospel.
However….
This was during the period in music were both multi-leads and multi-harmony-leads (i.e. more than two) were not saleling. In fact, multi-leads would not start saleling again intill 1967-1968, and multi-harmonies on songs (with VERY few exceptions) would not sale again. (The “Post-Ross” Supremes song “Nathan Jones” was one exception.) The Spinners would find this out in a years time when on the B-Side of their charting hit “I’ll Always Love You” appeared “Tomorrow May Never Come”. (Something tells me Nixon that you might not like that song either- I love them both!!!)
The release seem to be a way to passify the group (especially Paul Williams) concerning giving Eddie all the leads (on both sides). But Motown (who knows it Eddie’s voice who’s was saleing the singles more) doesn’t seem to be ready to turn either side to anyone else (yet- they will be by the next single). His voice been so prominent on the unison vocals, and since he was the last one out front (sort of) makes him the song’s main lead. In the seven months since Gordy failed to push the Williams-led “Just Let Me Know” it seems that the company had all but lost confidence in Paul leads and was ready to give David Ruffin a chance. Paul & David was about to twich places as Main Lead and “Stage Lead” (And since Eddie’s voice wasn’t making the singles fly off the shelves as quickly as they wanted to, he would soon be pushed to back to “B-Side/recurring A-side” lead status).
As I said I love the song (Bob Marley’s group would cover the song a few years after this release), and the group gives a great performance (BTW listen to the C-5 Tempts sing it on Temptations Live!), and is fantantic on the Sing Smokey LP. But I do wonder why it was on a single (even if on a B-side)? Oh well, it appearently got some airplay around Detriot – and in parts of U.S. (i.e. the Midwest), and it was – and is – loved by the group and their fans.
My rating: 7 (not a 2!)
P.S.: Forgive misspelling above, my spell check seems to be messed up.
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BTW, appearently Norman Whitfield and Smokey Robinson was allowed some say on what appeared on the B-side on the singles they produced. I get the inpression that Whitfield, on singles that had another production on the B-sides, seemed to choose songs that he was sure had no chance of outshining his hit songs (though he seemed to underestimated this song and “You’ll lose A Precious Love”). Smokey on the other hand seemed to tried to choose songs (whether he produced them or not) that sounded nice (or at least desent). And eventually, Whitfield would make sure that both sides would be a Norman Whitfield production.
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Sorry for the double post, but here’s what the above post “should” have said (the spelling and grammar now corrected), but I wasn’t able to replace it so here goes.
…………….
Actually I like the song. I give it a 7, due to the recording being a fantastic performance (mostly in 5-part harmony) of a otherwise wonderful sounding “misfire”. The reason it’s a misfire is not because it’s badly written (it’s not at least not to me), or badly performed (it’s definitely not that!!!), it just shouldn’t be on a single (but it’s perfect on an LP, especially the two LP’s it’s on, The Temptations Sing Smokey and Temptations Live!).
(BTW, who has a download picture of said LP? It’s needed for this song and the next two Temptations singles.)
Both TCMS and The Temptations: The Singles Collection 1961-1971 says a lot of why it’s a great recording (and still it is no wear near enough). However here is what I think might have went against it becoming a “B-Side” single:
Most of the song (as mentioned in TTTSC) “is delivered in impeccable five-part harmony,” thus most of the song (and lead) is done by the group in unison; but Paul and Eddie both get a solo spots on the bridge (and Otis and “Al” each had some solo “Harmony Vocals” as well). It’s a great fusion of Doo-Wop, Soul, and Gospel.
However….
This was during the period in music were both multi-leads and multi-harmony-leads (i.e. more than two) were not selling. In fact, multi-leads would not start selling again until 1967-1968, and multi-harmonies on songs (with VERY few exceptions) would not sell again. (The “Post-Ross” Supremes song “Nathan Jones” was one exception.) The Spinners would find this out in a years time when on the B-Side of their charting hit “I’ll Always Love You” appeared “Tomorrow May Never Come”. (Something tells me Nixon that you might not like that song either – I love them both!!!)
The release seem to be a way to passify the group (especially Paul Williams) concerning giving Eddie all the leads (on both sides). But Motown (who knows it is Eddie’s voice who’s was selling the singles more than anyone else in the group) doesn’t seem to be ready to turn either side to anyone else (yet- they will be by the next single) unless Eddie’s leading as well. His voice been so prominent on the unison vocals, and as he was the last one out front, it (sort of) makes him the song’s “unofficial” main lead. In the seven months since Gordy’s failure in getting the Williams-led “Just Let Me Know” placed on the A-side it seems that the company had all but lost confidence in Paul’s leads attracting sells and was ready to give David Ruffin a chance. Paul & David was about to twitch places as Main Lead and “Stage Lead” (And since Eddie’s voice wasn’t making the singles fly off the shelves as quickly as they wanted him to, he would soon be pushed to back to “B-Side/recurring A-side” lead status).
As I said I love the song (Bob Marley’s group would cover the song a few years after this release), and the group gives a great performance (BTW, listen to the C-5 Tempts sing it on Temptations Live!), and is fantantic on the Sing Smokey LP. But I do wonder why it was on a single (even if on a B-side)? Oh well, it appearently got some airplay around Detriot – and in parts of U.S. (i.e. the Midwest), it was a part of the group’s onstage repertoire for years, and a lot of fans requested they sing it; it was – and still is – loved by the group and their fans.
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Okay I’ll join in the fray! A decent tune in a doo wopsih sort of way – not spectacular but listenable. It does sound somewhat dated when compared with its A Side. The Tempts had gotten much more polished in the time between these 2 songs. As we will see with future singles by different Motown artists, that Motown had a habit of slapping older b sides onto some records.
By the way, it is interesting to see how different people like/dislike certain songs. For expample, I personally think that the Tempts’ “Oh Mother of Mine” is an unlistenable horror but that’s just me! Cheers ya’ll!
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I love all this serious chatter about this record. I so love everything the classic 5 lineup recorded, I know I am not a good judge. But I love reading the comments and truly feel that just about everyone here makes good points. Ultimately it’s true…some things strike one person differently from another. In the scheme of things it seems just about everyone would agree that Baby, Baby (I Need You) is not the greatest song ever recorded on the Temptations. I actually think it is a challenge for me to come up with a song of my guys that I absolutely think of as “unlistenable.”
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Fantastic song! I first heard it on the Tempts Live LP & absolutely love the way it follows straight on with no break after You’ll Lose a Precious Love. On the Live album, with the C5 line up, both songs sound much more up to date/classic Motown & BBINY certainly make much more of an impact live than on the single, 3 years afterwards.You can tell that it was a popular song live, so maybe that’s why they released the single but it really highlights how the sound progressed in a such a short time. I say live version 8 points, studio version 5
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If you’re looking for a reason why we all dig it, then as well as now, the best i can do is this: The sum is greater than the whole of its parts, you know? With some records, disassembly is not required. Its perfect just the way it is. I know first hearing it back then that it evoked certain emotions so today yoyu can tie it right back to a certain time, a certain place, a certain girl. Maybe some songs remind people of Cap’n Crunch with Crunchberries who knows?
Anyway besides all that it made a great grind record.
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