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UNRELEASED: scheduled for
Motown M 1065 (A), September 1964
b/w I’ll Be Available
(Written by Brian Holland, Lamont Dozier and Edward Holland Jr.)
Ah, context, you fickle thing you. The Supremes going forwards and upwards; Mary Wells, their predecessor as Motown’s top act, soon left behind.
One of the standout tracks on Mary’s LP Mary Wells Sings My Guy (right), this was scheduled for single release well in advance – her mega-hit My Guy was such a smash that Motown queued up not one, but two new singles to follow it onto the charts.
But planning ahead doesn’t always work out; by the time the first mooted follow-up, the sultry, stripped-down When I’m Gone, was due to hit the shelves, Mary had already launched a very public lawsuit to extricate herself from her Motown contract and seek her fortune with Twentieth Century Fox, and so neither that single nor this one was ever actually pressed up.
(Rumours persist that When I’m Gone, cut just days before Mary walked out on Motown, was never finished – which may be true, but I personally like the way it sounds, intentional or not – but either way, unlike When I’m Gone, Whisper You Love Me, Boy was officially released as an album cut before it was due to make its bow. Whether it was shoved out onto the album before it, too, could undergo the polishing intended to ready it for single release, I’ve no idea.)
LOST FUTURES
For whatever reason, Motown never re-used the catalogue number they’d reserved so long ago – perhaps they were hoping this could still be used at the last minute, capitalising on Mary’s fame supporting the Beatles at live shows in England? Or maybe Motown’s marketing machine had progressed to the point where things needed to be lined up months in advance (though that seems unlikely given their ability to reflexively rush-release material, as we’ll soon see) – and so, even as the proposed release date came and went, Whisper You Love Me, Boy remained notionally in the on-deck circle.
It wasn’t to be; Mary’s first Fox single, the quite-good-but-hardly-spectacular Ain’t It The Truth came out in mid-October, and that was that. And so this is where we finally say goodbye to Mary Wells here on Motown Junkies, leaving us with a void in the roster and a great big slate of might-have-beens.
But without getting into any of that, what of Whisper You Love Me, Boy itself? Supremes fans will know the song, of course, because the girls inherited the band track after Mary’s disappearing act, and their overdubbed version appeared on More Hits By The Supremes as well as a future B-side we’ll be meeting soon enough. But putting them aside, what’s this original version like?
It’s lovely, is the answer. It’s a quiet, sweet little song, never the sort of thing to top the charts, but it’s lovely. The ghostly, hissy organ, the disembodied, slightly jarring backing vocals, the handclaps and piano that open the record, all these things hint at an ominous and reflective affair – but as soon as Mary comes in, the track settles into a delicious, bouncy pop groove, bass-driven and slinky, that – more than anything – sounds like Holland-Dozier-Holland riffing on the My Guy concept. Which, of course, is exactly what this is; H-D-H, having seen Mary’s long-time mentor Smokey Robinson seize back the reins on Project Wells by scoring Motown’s biggest hit to date, respond by essentially saying “OK, but we’d have done it like this.”
The band have to take much of the credit, of course, turning in a similarly dynamic performance with many of the same ingredients (the horns are an especially nice touch, though they lack the blaring “air raid siren” intro from the big hit). But the real gold, as always, comes from Mary herself, who slots into the precisely-milled space that’s been crafted for her at the heart of the song and proceeds to make it her own.
Mary’s opening reading of the title phrase is every bit as good as her closing There’s not a man today who could keep me away from My Guy. Her dextrous handling of the patter-song verses, all clipped notes and wordplay (Whisper words you seldom say / You love me more each passing day / Just the way you used to do / When our love was new) is instantly pleasing, she sounds so much at ease with the material. Her quiet ramping up of the power for the bigger notes in the pseudo-chorus, and her upping her game yet further for the entirely earned key change which pushes the last third of the song into a brighter plane and demands Mary go with it (You used to say you loved me the most…) is remarkable. And the little throaty rasp in her voice as she pronounces “sweet, sweet things” in the closing lines is a wounding reminder of just what we’re about to lose. For all the incentives they dangled before her – $200,000 as a signing bonus, vague promises of a Hollywood career, you name it – 20th Century Fox never got anything like that.
But that just underscores the point that pop music doesn’t exist in a vacuum. Despite its minor imperfections – a few bits of awkward scansion, a lack of a real killer hook to the song – you feel that, in What-If World, this might have been received as one of Mary Wells’ better Motown singles, albeit something of a low-key one. But the compilers of The Complete Motown Singles: Volume 4 made their point well when putting this up right after Baby Love: this is a product of the spring of 1964, and by September, things, both at Motown and in America, had moved on. The Supremes were the future, and Mary was the past, and this is an item from the past.
NEVER LEAVE ME
What if she’d stayed? Would she have kept up? Would some of the great Motown songs of the mid-Sixties we know and love by other artists have been owned and reshaped by Mary? Might she have drawn new, unheard songs out of Smokey Robinson or Mickey Stevenson, songs we’ll never hear because Smokey and Mickey never got the germ of an idea in their head and thought “ooh, that would be great for Mary Wells”? Might she even have taken up her own pen again, suffused with the thrill of success, to write her own material once more? Or would she have petered out, either unable to recapture the magic that had taken her to the top, or unable to successfully update her sound to compete with the newly-emergent young Turks? We’ll never know, and that’s the biggest disappointment.
What actually happened next? We’ll cover Motown’s half of the story here on Motown Junkies in due course, but what became of Mary?
It doesn’t make for happy reading. The move to 20th Century Fox didn’t pan out like anyone hoped. Mary didn’t get to act in a single movie, and her handful of Fox 45s are of a high enough standard that they’re all well worth a listen – but my overriding reaction listening to any of the Fox cuts is that they’re good, even very good, but not great. Here, make your own minds up:
“Use Your Head” (co-written by Barrett Strong!):
“Never, Never Leave Me” (my favourite of her Fox 45s):
“He’s A Lover”, originally intended as a B-side:
“Me Without You” b/w “I’m Sorry”:
They’re good, but they’re not magical. They certainly don’t sound like Top Ten hits, and indeed they weren’t. Mary’s chart career took a real turn for the worse with the move to Fox; none of her Fox efforts made the pop Top 30 or R&B Top 10. By the middle of 1965, as Motown continued to rack up glorious hit after glorious hit, Mary was watching Me Without You stall at number 95. A distinctly hack-job LP of Beatles covers swiftly followed, as Fox tried desperately to capitalise on her waning fame, and then Mary and Fox parted company, the much-vaunted partnership having lasted a little over twelve months.
A series of other labels (Atco, Jubilee, Reprise, Epic) would sign her up in the hope of getting more hits for rather less than the two hundred grand Fox had laid down, but she’d never again be front page news, all future sporadic chart activity now labelled in the “comeback” camp. Her biggest hit after leaving Motown was, ironically, a British reissue of My Guy which hit the UK Top 20 in 1972, and which Mary gamely promoted with some TV appearances. Mary Wells, Motown’s first great superstar and for a time its biggest name, died from throat cancer in 1992. She was just 49 years old.
COULD HAVES AND SHOULD HAVES AND WOULD HAVE BEENS
Knowing what came next, then, where does that leave Whisper You Love Me, Boy? It’s certainly better than any of her Fox singles, for my money, and I’m sure it would have given her another hit; I’d be surprised if it became anyone’s favourite Mary Wells single, but you can easily imagine her whipping it out mid-set for an adoring crowd. Taken on its own merits, it’s another super Motown record, in a year not exactly short of them, and it shows that Mary was still at the peak of her powers right up until she walked out of Hitsville for the last time. We’ll never know what might have been had she clocked back in the next day.
As Motown’s mid-Sixties Golden Age continues here on Motown Junkies, as more and more of the label’s best are invited to music’s top table, as the gold records stack up and the corks pop and the champagne flows, it’ll always be a jarring experience to glance at the empty seat forever reserved for Mary Wells.
Thanks for everything, Mary. We’ll miss you.
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!)
COVERWATCH
Motown Junkies has reviewed other Motown versions of this song:
- The Supremes (April 1965)
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 Mary Wells? Click for more.)
The Supremes “Ask Any Girl” |
Mary Wells “I’ll Be Available” |
DISCOVERING MOTOWN |
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Damecia said:
I can’t believe this our Motown farewell to Mary Wells! Wow, so little time with such a great talent. I have many questions about what could have been for Mary. Most are the same as the questions Mr. Nixon already asked up above. This is a sad day on our Motown blog = (
Enough with the mourning, let me comment on this here song (lol). So, I always assumed this was an original Supremes song. I didn’t know it had been in Mary’s hands first. I didn’t want to do a compare in contrast, but that it very hard to do, considering that I’m a huge Supremes fan.
“Whisper You Love Me Boy” is such a great title! Again, the geniuses of H-D-H. Not to mention the melody here is divine. The concept of a woman asking to the point that she is almost begging her man, who is obviously neglecting her, to whisper, not say, but whisper he loves her makes for a great song.
Shout out to the Andantes! They sound marvelous here. As a matter of fact I don’t think I have ever heard them sound bad on any track.
What I find interesting about Mary’s version is that it does lack a chorus (as Nixon mentioned) that is seemingly there in the Supremes version. IMO Mary’s vocal are a little too laid back here and not as convincing as her previous singles. Sultry yes. Sexy somewhat. But Wells just doesn’t seduce me long enough to capture my attention. Perhaps I’m bias, but I like The Supremes version better. I’ll save my reasons for that review.
Even though this is Mary’s farewell I can understand why this track was not properly released. Album filler is what this song is. Not bad in fact it’s good. We just know Mary could do better. For that reason I’ll give this a 6/10.
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Dave L said:
It was 1993 when I finally got a hold of this album in any form, the CD. Holding it my hands I could see that it wasn’t hyperbole when writer Gerri Hershey referred to the cover photo as “soul music’s ‘Mona Lisa.'” Thus I scored a vinyl copy quickly after if only to have that photo in 12×12 size also. You could write virtually any emotion to that backward glance of Mary’s, and none would be wrong.
Of course, with the Supremes version of “Whisper You Love Me Boy” then in my blood nearly three decades that one’s my favorite, though I’d never quarrel with an ‘8’ for Mary’s even if the Supremes version (eventually) comes in less here at Motown Junkies. In fact, Mary Wells Sings My Guy, originally Motown 617, on its first side, is filled with terrifically interesting, in-house Jobete material. (It took me till the early 90s also to get a copy of “Vintage Stock.”) “He Holds His Own,” Smokey’s “He’s The One I Love,” and -my favorite- Stevenson’s “Does He Love Me” … none of those would have bombed out as 45s. They’re all delicious.
I wonder too, if the track selection would have been hurriedly shuffled, had Mary stayed, to fold “When I’m Gone” into the LP? “My Guy” was already on the Greatest Hits, released in mid-April, and Sings My Guy not released till the first week of June. I’d think Motown would want the fresh single on it to push it, whether or not they went back into it again in September for “Whisper.”
If I’m disappointed anywhere, it’s as you point out, Mary’s “Whisper You Love Me Boy,” suggests HDH offering what have been their own approach to “My Guy.” And after “You Lost The Sweetest Boy” and “One Block From Heaven,” what I yearn for most is more samples of Mary putting her signature on up-tempo dance stomps from the “Quicksand”/”Can I Get A Witness” frame of mind that she’s proven she can do. And we’re never gonna get them. 😦
Thanks to the Internet, I’ve got all the 20th Century Fox material embedded here, and “He’s A Lover” is still my favorite. I’ve never been without the 45 of it since 1965.
I love the way you ended this essay, Nixon, and my mind’s eye is seeing that chair waiting for Mary. Beautiful.
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MichaelS said:
Dave L, I agree with you completely about Mary’s agility at doing up-tempo dance tunes! “You Lost The Sweetest Boy” is simply fantastic and one of her best tunes after leaving Motown was “Can’t You See You’re Losing Me” on Atco (the flip side of “Dear Lover.”)
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MichaelS said:
Thank you, Mr. Nixon, for another excellent critique and a fitting tribute to Motown’s first superstar.
Comparing Mary’s version of “Whisper” with the Supremes’, I find two things HDH could have done to improve the former: 1. Increase the presence of Mary (Wilson) and Flo in the background; they sound too faint. 2. Bring the tambourine up in the mix so it can be heard. In terms of lead performances Mary nails it on the original; Diana is sweet but certainly not sultry or sexy; nor is she as expressive as Ms. Wells.
I agree that if it had been released as a single, this tune would not have been another monster like “My Guy” but would have cracked the Top 20.
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Robb Klein said:
I never heard The Supremes’ version on the radio. I did buy The Supremes’ single, and bought Mary’s “Vintage Stock” album. I DID hear Chris Clark’s version on the radio. It was a minor hit. Mary’s version is great. It would have been a Top 20 hit on the pop stations, and a top 10-15 on the R&B/Soul stations. It’s a shame that Mary left Motown so early. But we’ve covered that topic pretty well.
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treborij said:
Mary Wells was the first soul singer to seduce this 11-12 year old white kid. I first heard her with You Beat Me To The Punch and stuck with her up until My Guy and a little beyond. (Bought Ain’t It The Truth) But by then I was 13-14 and the Beatles had arrived, I entered junior high and my insular world was changing.
When asked to choose a favorite Motown single, I usually name You Lost The Sweetest Boy b/w What’s Easy For Two. Not to be needlessly obscure but because both of these very different sides sounded better than anything that was out at the time (October, 1963?). And it still sounds great. (Nixon, I’m still stunned by your lukewarm review of the record.) And Mary always had a special place in my musical universe because of that record.
But this post is a wonderful goodbye to Mary. There will always be a special spot in my musical universe for her.
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Damecia said:
Wonderful comment!
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Ron Leonard said:
First of all, how could you ever top “My Guy”..Mary didn’t give us a chance to find out and yes, “My Guy” was her signature song and it was sad to see her go..However, by this time, you are right Nixon the Supremes were moving onward and upward to super strardom..
I went to You Tube yesterday and finally listened to Mary Wells version of “Whisper” with the same music track as later the Supremes would record. I will say this song was never my favorite no matter who recorded it. “Whisper You Love Me Boy” was a B side at best. It’s a cute tune and you can sing it.
Speaking of same music tracks, “Who Could Ever Doubt My Love” was used at least three different times on Brenda Holloway, The Supremes and the Isley Brothers. The Motown machine was on and it was magical!!
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The Nixon Administration said:
Thanks Ron. Check out Keith Hughes’ stupendous “Don’t Forget The Motor City”, a song-by-song Motown discography – you’ll be amazed how often the same Jobete songs were re-used on several Motown artists: http://dftmc.info
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Robb Klein said:
I consider it an “A” side as sung by Chris Clark. Her different tempo and forceful Funk Brothers’ instrumental was A-Side quality all the way. She did a great job singing it, as well.
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Ron Leonard said:
Yes, I have a promo copy of “Whisper You Love Me Boy” by Chris Clark and you are right, a better back track on it however, this song for me fell flat..Chris sings it great but Holland Dozier Holland had so much stronger material, this is likley why I feel this way..
I’m so glad we have this forum..thanks Robb
And to Nixon, thank you for the dftmc website..This is a must see for Motown fans!
When the songs were recorded, writers, producers, on and on!! How did Keith Hughes have the time to put all of this together..awesome!!
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Dave Cliffe said:
What a fitting tribute to THE STAR of Motown. Forget Diana Ross this was the lady of Motown. I agree with all your comments. I still get the same feeling whenever I hear any of her Motown output and whilst her later material was never as good you could always rely on her to give her all. I find your site an abolute delight and look forward to all your comments.
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Dave L said:
AT LAST, AT LAST
The long-promised Peter Benjaminson biography on Mary now has a promised date for sale: November 1, 2012, and a cover picture.
🙂
http://littleurl.info/nfc
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Damecia said:
Cool. I will be reading this!
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Ken said:
Just stumbled onto your site the other day. Marvelous ! You’ve created a dream destination for Motown lovers. So full of fascinating facts and beautifully articulated insights. I’ve been a Mary Wells fan for 50 years. She communicated such a heady combination of qualities. And – of course – was at her most intoxicating during her Motown years. Wish they could have gone on and on.
You’re a wonderful writer. And certainly – on the subject of Mary Wells – I’ve never read anything as penetrating or as lovely. I’m going to treasure the poignant image of that empty seat at the table forever reserved for Mary.
Thanks.
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The Nixon Administration said:
Thank you, Ken, for the kind words – I’m glad you’re enjoying the site.
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Ken said:
I alerted our kind host to a Mary Wells piece I just wrote. And he suggested I post a link here. Beware, it’s kind of long. But, on the subject of Mary, I do, as they say, go on.
http://canadianken.blogspot.ca/2013/04/mary-wells-nothing-you-could-say-can_8.html
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bogart4017 said:
Great song. Not a number one, but it could have been a good follow-up to “My Guy”. Or, the bridge between “My Guy” and the next top 5 danceable single from Mary.
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Kevin Moore said:
There’s the half-step modulation again … like a dog with a bone – any device that occurs on any hit gets mass-produced ad infinitum. It’s absolutely amazing that they came up with so many great songs in spite of this rather callous approach … and I do like this song quite a bit.
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Robb Klein said:
I forgot to mention that Mary Wells was my favourite female singer. I was devasted when I heard that Mary had left Motown (the same thing happened to me when Kim Weston, Brenda Holloway, and The Spinners left). I love Mary’s songs recorded by 20th century Fox, and ATCO, despite knowing that they were a step down from the quality of her Smokey Robinson and HDH produced Motown cuts. Her Fox material was well-written and well produced by ex-Motowners Robert Bateman and Andre Williams, and most of the tracks recorded in Detroit (and what is not was recorded in New York with Richard Tee’s band of “Motown copiers” used by Bateman to create “The Motown Sound” in New York, same as was used by Raynoma Gordy in Motown’s New York Jobete Music office to record demos. The writers who were not from Detroit (Barrett Strong, Andre Williams, Robert Bateman) were also those that had been used by that office, Sidney Barnes and J.J. Jackson, and Jennie Lee Lambert and her partner, who were later hired by Motown, to avoid competition from them. At ATCO, she worked with Carl Davis and his Jalynne crew (Barrett Strong, Sonny Sanders, Gerald Sims and other Chicago Sound production people). “Dear Lover”, “Such A Sweet Thing”, “Me And My Baby” are quite good. Mary made a good match with “The Chicago Sound”, as well as “The Motown Sound”
As far as how she’d have fared if she had stayed with Motown, – I believe she’d have had several more mega hits with Smokey and HDH continued to be inspired by writing material for her. She’d have become a mega star, and would have had a much better life after 1964 than she had by leaving. It’s a shame for her fans, and a greater shame for her and her children. I had the pleasure of meeting her a few times. And I thought she was a really wonderful person, who deserved a better fate. I doubt that she’d have started writing her own material at Motown. She only “wrote” “Bye Bye Baby”, while with Motown, and the scuttlebutt was that had Johnnnie Mae Matthews not fixed up that song for her before she went to the Motown tryout, she’d not have had Motown publish it, and who knows how her tryout would have gone. I think Motown would have signed her but given her one of their own songs for her debut release. She only started writing regularly with her new husband Cecil Womak, and his brother, Bobby. And, I’ve got to think that they were the prime movers in that writing trio, as those songs sound a lot more like their style of music than Mary’s.
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Abbott Cooper said:
My favorite Mary Wells post-Motown side is “The Doctor” on Jubilee. A lot of sweet soul in those grooves.
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