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Soul S 35004 (B), August 1964
B-side of Bread Winner
(Written by Ivy Jo Hunter and Mickey Stevenson)
And no sooner have we said hello again to (Singin’) Sammy Ward here on Motown Junkies, then the time comes to say a final goodbye. This was Ward’s first release in two years, and after it went nowhere, Motown decided that the world had simply moved on. No more Sammy.
This is a somewhat atypical way to say goodbye. Here, Motown’s resident Southern blues man instead turns in something approaching uptempo gospel – the church was in Sammy’s blood, but he hadn’t often showed his gospel training on his Motown sides to date.
If it seems unusual that top Motown figures like Mickey Stevenson and up-and-comer Ivy Jo Hunter would write and produce for an artist so far out on the periphery, it’s easily explained: this one wasn’t originally written for him. Instead, it was earmarked for Shorty Long, before Sammy dubbed in his vocal over the pre-recorded track. Interesting to wonder if Sammy would ever have been encouraged to cut something like this from the start.
This is really out of step with the rest of Sammy’s output; apart from anything else, it sounds happy, even if Ward is as down and dirty as ever. The infectious rhythm, the jaunty opening piano, the cooing female backing vocals, not to mention that chorus right out of the church, it all feels a long way from the scuzzy, greasy blues patina that’s smeared on most of Sammy’s best records.
It’s hard to deny Sammy’s the best thing about this, too; there’s a fiercely independent bassline courtesy of James Jamerson, doing pretty much whatever the hell he feels like, but other than that the song doesn’t go anywhere – and if Sammy weren’t here, it would probably get dull very fast. As it is, and as ever, he brings the goods, salacious and respectful, and thrilling to listen to; very much the star of his last Motown bow. A trooper till the end.
This wasn’t the end, of course. Sammy did stay with the company for a while, watching his tapes stack up on the shelves without prospect of release, before eventually giving up and going elsewhere. Later, as “Sam Ward”, he later cut a single for Richard “Popcorn” Wylie at Groove City Records (Sister Lee b/w Stone Broke). It wasn’t a hit, and he died in the mid-Nineties, forgotten by both Motown and the music industry in general; a pity, as his canon is ripe for rediscovery and a long-overdue critical revival. Maybe we’ll start it here.
But his crowning achievement, for me, was cut at Motown in May of 1964 (probably at the same time as the A-side here), only the second time I’ve had to upload something to YouTube myself because no-one else had bothered to do so: the magnificent Then You Changed, an otherworldly soul excursion courtesy of Mickey Stevenson, Sammy somehow channelling both Screamin’ Jay Hawkins and Otis Redding at the same time. If it’s not conceivably a hit single, then it’s still harsh on Sammy that only a Quality Control decision keeps him from racking up a (10) of his very own, because that is incredible.
It wasn’t to be, and so this is as far as we go with Sammy on Motown Junkies – Smokey Robinson and the Miracles become the last surviving link in the Motown repertoire between the hyper-success of the Golden Age and the dark hand-to-mouth days of 1960. But You’ve Got To Change is as good a place as any to bow out. Even if it’s out of whack with the rest of his career, it’s a quirky, entertaining finish; meanwhile, there’s no doubt he could be proud of pretty much everything else he’d made. Here’s to you, Singin’ Sammy Ward.
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 Singin’ Sammy Ward? Click for more.)
Sammy Ward “Bread Winner” |
Shorty Long “It’s A Crying Shame (The Way You Treat A Good Man Like Me)” |
DISCOVERING MOTOWN |
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Damecia said:
Here’s another song I can’t here. Either this has to be rare or nobody cares for it. Pity!
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John Plant said:
These songs are all available as downloads on itunes, for 99 cents each – the price of a 45 in the old days (admittedly, then you got two sides for the price)… It’s what I do when Nixon awards an 8 or 9 to an unknown song (like Mary Wells’ wonderful ‘Strange Love’) – or makes them sound tantalizing, despite a low mark… And often you can find them on youtube.
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Damecia said:
Thanx John! I hear most of these tunes on Youtube. I guess I will have to fork over $1 for this tune = ). Also, interesting I didn’t know 45s were 99 cents back in the day. Seemed like the 45 were more of a bargain on the consumer end then now.
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144man said:
This is another record that Tony Blackburn played on Radio Caroline, and all credit to him for playing something so uncommercial (albeit more commercial than its a-side). You certainly wouldn’t have been in any danger of hearing either side played on BBC radio in August 1964.
In common with Amos Milburn’s “I’ll Make It Up to You Somehow”, it features a prominent girl backing group which serves to Motownify the record. I like this side a lot and rate it an 8.
I agree with you wholeheartedly on the merits of the moody “Then You Changed”, which is near-perfect.
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Landini said:
Hi Damecia
I double checked & it isn’t on You Tube or anything. If you get onto iTunes you might be able to hear at least a snippet of the song as I know they have all the Motown Complete Singles collections on there. Also, keep googling the title/artist every week or so. Maybe it will turn up somewhere. I’d be curious to hear it too.
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Damecia said:
Hi Landini,
I went on iTunes and still couldn’t get a snippet. I’ll keep checking to see if anything comes up. This sucks! LOL.
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Damecia said:
Hey Nixon! I just heard your upload of “Then You Changed” great song. It sounds nothing like Motown. I like the bluesy feel. This record is considered better than both sides?
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Robb Klein said:
I LOVE “Then You Changed”. It’s my favourite recording by Sammy with Motown. Too bad they didn’t release that on a single! It should, at least, have been issued on the “Switched On Blues” LP.
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144man said:
I was pondering the reason that I would give this side a higher mark than the a-side when I realised that it has nothing to do with the qualities of the record itself, but purely because I prefer Gospel to Blues.
Worryingly, this doesn’t seem particularly fair or valid.
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Landini said:
Hi. If you like Gospel Music, have you ever seen the documentary “Say Amen Somebody”? It came out in the early 80s & it was excellent. Not sure if it is on DVD but you might want to check around. It is worth watching just for seeing the O’Neal Twins perform “Jesus Dropped the Charges”!
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Landini said:
Hey Gang, Sorry to butt in on the Sammy Ward comments, but I have some totally unrelated questions. Maybe Nix or Robb or one of you other Motown scholars might know this. I had a piano/vocal book of Motown songs & they included
“A Million to One” by Jimmy Charles & “Romeo & Juliet” by the Reflections. Did Jimmy Charles have some connection to Motown? I can sort of understand including “R&J” as that was on Golden World which was eventually bought out by Motown, but I guess that one is still not technically right. Anyway, curious about Jimmy Charles. Thanks friends!
PS. At an 8th grade party at my house, a girl was thumbing through my Motown song book & said “Oh please play Romeo & Juliet!” She thought it was the love song from the movie “Romeo & Juliet” which was a major hit by Henry Mancini! Had to laugh!
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Robb Klein said:
The reflections song and all the Golden World/Ric Tic recordings are owned by Motown-so no surprise there. I wouldn’t have guessed, however, that Motown had ever bought the rights ti “A Million To One” by Jimmy Charles. But, maybe they bought it to use along with mostly Motown cuts in a film that was contracted to use a Motown soundtrack? Apparently, for some reason, Jobete Music (or one of the other Motown music publishers) bought “A Million To One” in relatively recent years.
I’d like to find out the history behind The Jimmy Charles acquisition. I seem to remember The Jackson Five (Michael lead) having sung that song.
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Landini said:
Wow, thanks for such a prompt response my friend. Regarding “Million to One” the songbook I have was published around 1971 so I’m not sure if Motown had bought the rights to it back then. Obviously they had an interest in the song.
I think Donny Osmond might have done a remake of “Million”, but am not sure. Of course, young Donald was busy remaking just about every oldie ever written! Speaking of… there is an Osmond/Motown connection. Brian Holland produced a Donny/Marie album in 1977. I picked up a cheap beat up copy & surprise, it actually is pretty good. They had Marie sounding a bit like a young Diana Ross. Wonders never cease! Have a great day buddy!
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Landini said:
Okay, just found out. Young Mr. Osmond did redo “Million to One” Couldn’t bring myself to listen! LOL By the way, I just found out that the 5 Stairsteps did a remake (which is playing right now). Normally love the Stairsteps, but am not feeling this version. The lead guy doesn’t seem completely sure of himself. They do try hard though. I’ve always thought it was a shame that the Stairsteps didn’t ever have major crossover success except for “Ooh Child” (which started off as a B side!) “We Must Be in Love” has to be one of happiest songs I have ever heard!!!! Your buddy, Mr. Pruter, gave the group some props in his Chicago Soul book.
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bogart4017 said:
“You Waited Too Long” should have done it for them. It got plenty of airplay and even got them to the chitlin circuit. The song itself was popular enough to garner a cover version by Johnny Bartel & The Soulmasters.
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Damecia said:
LOL wow I might have to checkout the Donny & Marie album.
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Robb Klein said:
I just looked up “A Million To One” on BMI.com. It is now published by Motown’s Stone Agate Music publishing Co., – so it is clear that Motown bought the publishing rights because they wanted it for Donny Osmand’s project.
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Landini said:
Wow, you are amazing. Thanks for the info pal! Just curious, do you like the 5 Stairsteps?
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Abbott Cooper said:
Gee, I wonder if Motown was also interested in “Hop Scotch Hop,” the B-side of “A Million To One.” For some weird reason buried in my subconscious, I actually liked that song.
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Robb Klein said:
The Five Stairsteps were okay to my taste, but not anywhere near my top artists. My favourite songs by them are the Curtis Mayfield-written cuts (usually done better by other Chicago artist). “Playgirl’s Love” and “Behind The Curtains” are two of their best (to my taste).
Motown music (and off-Motown Detroit Soul (also mainly played by Motown session players)1959-66 -ALONG WITH Chicago Sound Soul-from 1959-1966 are my two favourite types of music.
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Landini said:
Yeah I like Chicago soul a lot too. A few years ago a very dear friend of mine was asking me about Major Lance and I was able to educate her a bit on Chicago soul. I like the Billy Butler songs I’ve heard too.
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bogart4017 said:
This, as with most of Sammy’s efforts, is not as much Motown music as it is Detroit music and there is a difference. If you listen to much of what was coming out Detroit in the late 50s/early 60s (Johnny Mae Matthews, The Falcons, Bettye Lavette) you will hear the difference. Motown smoothed out the rough edges and thats something that some people(surely not Motownjunkies)tend to overlook.
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