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Tamla T 54104 (A), September 1964
b/w I Want You Round
(Written by Mickey Stevenson and Alphonso Higdon)
Stateside SS 363 (A), December 1964
b/w I Want You Round
(Released in the UK under license through EMI / Stateside Records)
As soon as it became clear Mary Wells wasn’t coming back, Motown wasted little time fitting up Marvin Gaye with a new duet partner. Traditionally, the singles Motown released on Brenda Holloway, Carolyn Crawford, Oma Heard and Agatha “Kim” Weston during the summer of ’64 have been seen as auditions for the role, each young lady asked to show what they could do with some distinctly Wellsesque material.
After a brief and abortive test run with Oma, Kim eventually got the nod – the best singer of the four, with both the biggest voice and the biggest on-disc personality (despite her “audition” single actually being the weakest, for my money) – and she and Marvin were rushed into the studio to stockpile duets for a proposed winter LP release that never actually materialised. This single appeared in the stores less than a month after recording, and – surely not coincidentally – less than a month after Mary Wells’ last slated Motown single Whisper You Love Me, Boy was meant to arrive, instead fighting for airplay with Mary’s Fox début.
The duet project obviously mattered to Motown; Marvin’s latest solo effort, the fully rocking Baby Don’t You Do It, had only been out for a couple of weeks. But it’s not the same. It’s not just the sound that’s changed, the dynamic of the two singers’ relationship is a very different thing too.
On this initial evidence, there’s no doubt this mix is going to work better than Marvin and Mary ever did. When Gaye was first partnered with Wells, he was the junior up-and-comer and she was the established star; their commercial fortunes were equal at best, and most judges would have no problem giving the decision to Mary on points.
Fast forward to the end of 1964, and in this new casting choice, Marvin is the “big name”, the star attraction, and it’s Kim’s faltering solo career which is definitely receiving a much-needed leg up. Yet in terms of what’s actually on the record, this is much more a partnership of equals than any of the Mary-Marvin duets. For the first time, Marvin is paired with a voice big enough to knock him on his backside, and he relishes the corresponding opportunity to cut loose some more, safe in the knowledge he’s not going to overpower Kim. The two of them have at it with tremendous abandon, and the redrawn balance of power (plus Gaye and Weston’s friendly working relationship) means that they can comfortably share a mic, giving a real live feel to their work, and – crucially important, this – they sound like a plausible couple, in a way that Marvin and Mary never really could.
(Ironic gossip side note: of Marvin’s four main duet partners at Motown, Mary Wells is the only one he was rumoured to have actually been romantically linked with – “you could say the duets were not great for my marriage”, quoth Marvin – despite theirs being the least convincing of Gaye’s on-vinyl relationships. But I digress.)
There’s probably some complex musicological explanation for it, but the way I see it is pretty simple: Kim could cope with Marvin’s regular material, and so the Kim/Marvin duets can get closer to the sound and style of Marvin’s swaggering, syncopated R&B-pop solo stuff, with more blues and more balls than anything he did with Mary – a change which is to everyone’s benefit. This one sets its stall out immediately to let everyone know it’s trying to sound like a Marvin Gaye record (a concept that had somehow evaded the Mary Wells duet sessions), opening with an unmistakeable twang, piano and handclap riff that’s clearly a close relative of I’m Crazy ‘Bout My Baby, itself born of Pride And Joy, with a little bit of Baby Don’t You Do It thrown in for fun. It doesn’t make any advances on those earlier Marvin cuts, and it’s certainly not as good a song as any of those, but it’s a gas all the same.
Make no mistake, this one is aimed at Marvin’s fans alright; if the MOR and Broadway standards LPs weren’t showing off his diversity, here Motown tries a different tack by keeping him in his proven commercial groove while teaming him up with an appealing new talent, as well as giving said new talent some easy publicity and invaluable name recognition. But it’s for Marvin’s fans, Marvin’s stardom, to make this duet a success, rather than the duet itself capturing the public imagination. That would come later. This is now.
As if to underline the point, there’s a feeling of “And introducing MISS KIM WESTON” about this. The music is undeniably Marvin all over, and yet after the cracking intro – eight bars of twin-handed vocal attack, Kim and Marvin taking their wordless lines together at full volume, whoa-oh-oh-oh! – he doesn’t appear again until we’re well into the second minute of the song, the audience instead in the meantime being introduced to their new favourite female vocalist (or so Motown hoped).
If she never quite became the superstar she was meant to be, it’s not for want of trying. On her last solo effort, the dismal Mary Wells pastiche Looking For The Right Guy, Kim never really got to grips with the material, hiding her light under a bushel as she tried to smoulder her way through a part she just wasn’t meant for. Here, perhaps realising breaks like this don’t come along all that often, she grasps the opportunity with both hands.
She’s on fire, back to her very best, hints of Aretha and Dinah but mostly just Kim. The introductory first verse is magnificent, but the highlight comes when they start trading lines in the middle of the song, and Kim hits him with both barrels – I’ve just got to have you / Marvin, ’cause I love you so!, the sheer force with which she squeezes out the word ’cause, catching on her throat and lips on the way out, dragging the rest of the line on a string behind it, almost too soulful for the primitive recording equipment to cope. She draws the best out of Marvin, too, during their mid-song back-and-forth; it’s such a joy hearing him not afraid to open the throttle right up, knowing he’s not going to do any damage.
Except, weirdly, it actually does end up doing some damage right at the end, Kim somehow getting stranded for the final coda in a different part of the scale to Marvin’s guttural semi-spoken shouts, an uncomfortably high place, creating a jarring effect that immediately reminds everyone this was their first go, that all the kinks hadn’t yet been ironed out, that they still needed a bit of practice before they’d be scaling the charts together. The slightly strained, slightly “off” vocal finale isn’t enough to ruin the record, not by any means (on the contrary, it’s a stark illustration of how good they both were right out of the gate), but it should never have been needed in the first place; Marvin and Kim are only pushed into it because the song’s completely run out of ideas and doesn’t know how to pull off a suitably big finish, and it feels like there’s a bit missing, the bit that would take this and turn it into a mega-hit.
But that can’t really take the gloss off; if it’s lacking a little as a song, there’s very little wrong with it as a record, and as an introduction to a hot new partnership, it’s right on the money. There’d be better songs for these two yet, but this is a fine way to start.
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 Kim Weston or Marvin Gaye? Click for more.)
Earl Van Dyke “Hot ‘n’ Tot” |
Marvin Gaye & Kim Weston “I Want You Round” |
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Dave L said:
If Anna was worried, I think it had more to do with the 14 years difference in her age and Marvin’s, but I never got the impression reading Divided Soul that Marvin romantically involved with any of his duet partners. Of the four, I would think Tammi would be the most likely, except she was so in love David, Marvin, even if he was interested, would have been shut out.
Then too, from Divided Soul I do get the impression that Gaye’s ego was such that he wouldn’t have lasted long with a woman equally famous to him, which counts out Wells and especially Ross immediately. And Kim was the wife of a man who was robustly instrumental in getting Marvin off the launching pad. Though not without his weaknesses of course, I think the gentleman that was also in Marvin would have demanded a hands-off policy with Stevenson’s wife.
I do believe Marvin loved all of his duet partners, but in a brotherly way, not a romantic one.
This was a fine single, and I remember it all over my Philadelphia neighborhood that autumn. Though only peaking at No. 61, it did get six weeks on Billboard’s Pop chart.
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David Bell said:
A fine single for me too and Kim’s magnificent voice shines through. The right partner was chosen to be Marvin’s duettist. Kim has vehemently denied that she was ever romantically involved with Marvin and has said this to my face when I asked her. Kim has many fine personal qualities, including truthulness.
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The Nixon Administration said:
Just to clarify, I don’t believe Marvin was actually romantically involved with any duet partner. I simply meant that I found it ironic the only one of the four to cause any real rumours – even just to the level of spousal jealousy and gossip-rag tittle-tattle, as opposed to fans putting two and two together and getting five – was the one who seemed to exude the least on-vinyl chemistry with Marvin, the one where they never once sounded like a convincing couple on the records. If you’d listened to this having been told Marvin was Kim’s husband “in real life”, you’d have had no problem believing it.
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Landini said:
David Bell. Dude, you’ve met Kim Weston????? Lucky you! Not only a great singer, she sounds like a very nice lady. It is a crime that Motown never released a solo album on her. TV One needs to do an Unsung program on this wonderful lady!
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Damecia said:
OMG! I’ve missed everyone on the blog, I considered you all to be my Motown Family (lol). Great news all, I am no longer an undergraduate student I graduated Saturday = ).
Anyhow, let me give my 2 cents on why I think this is a great record. IMO Kim & Marvin meshed perfectly on this record. I definitely would have spent my lunch money on this = )
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Mary Plant said:
Congratulations Damecia! We’ve missed you too! And I agree. I don’t remember hearing this growing up, but sure would have bought it if I had!
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Damecia said:
Thanx Miss Mary = )
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144man said:
Congratulations on graduating, Damecia.
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Damecia said:
Thanx! = )
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Landini said:
Damecia, a very, very belated congratulations dear lady!
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Dave L said:
Nice goin’, Damecia. 🙂 Onward and upward.
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Damecia said:
You said it Dave! Thanx = )
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MichaelS said:
As smooth as the best duets of Dinah (Washington) and Brook (Benton)!
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Ed Pauli said:
considering that Dinah and Brook hated each other’s guts!!
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144man said:
Quite right. The track is not a million miles away from “Baby (You’ve Got What It Takes).
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144man said:
I quite like the finale, especially the fadeout where “what good baby am I without you” is repeated using a slightly different tune than earlier in the song.
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bogart4017 said:
This should have been much bigger than what it was. Maybe because its so close on the heels of other Gaye product that jocks and fans alike got confused. Anyway its no “Whats The Matter With You Baby” but i’ll take it.
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Landini said:
Hey Gang, I was listening to Gladys Knight/Pips’ “Feelin Bluesy” album & realized there is a song called “What Good Am I Without You” on it. At first I thought it was a totally re-arranged version of this song, but it is a different song all together. I believe that particular song was written by Fuqua & Bristol. All Music Guide lists the Knight song incorrectly as composed by Mickey Stevenson. The Knight song definitely has different lyrics & melody & is a ballad unlike this song. Just thought it was interesting that Motown would re-use a title.
Finally found the writing credits for the Knight song. It is by Fuqua/Bristol/Moy.
Mr. Robb Klein, are you familiar with this song? I think you said something about liking Fuqua/Bristol songs. Curious if you know/like this one. Hope you are well my friend.
Best to everyone!
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Robb Klein said:
Yes, I like that Fuqua/Bristol song to some extent. But only at about the 6 level. Of course. I have that album.
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Landini said:
Yeah, both FEELIN BLUESY & EVERYBODY NEEDS LOVE are enjoyable albums. I especially like “He’s My Kind of Fellow” & “Do You Love Me Just a Little Honey.” Interesting tidbit. A non-Motown group called Sandy & the Pebbles did a 45 of “He’s My Kind of Fellow” in 1967. I saw them perform it on a teen dance show. I recently heard their version. It is kind of nice – a little faster than GK/Pips version. Amazing how non-Motown artists would find a Motown album & try to score a hit off of a non-single track. Case in point — 2 different singers did versions of Stevie Wonder’s “Angel Baby” George Carrow & Darrell Banks. Local East Coast Group, Bob Brady & the Conchords had a decent hit with a Miracles track called “More More More of Your Love” That is interesting because Bob Brady’s voice is so similar to Smokey’s. In fact, I have both songs on my MP3 player & when one comes up on shuffle play I have to listen closely to make sure I’m hearing the correct version.
By the way, do you celebrate the Jewish holidays? I know there have been several lately. if so, I hope you had a good celebration. As a Christian, I am very fascinated by the Jewish celebrations & feel like Christians could learn a lot from them.
I have participated in several Sedars & have really enjoyed them.
Hope you are well, my friend.
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Robb Klein said:
I was brought up in an ultra-conservative Jewish home, which is less religious than Orthodox, but we were Kosher, and I went to religious school separate from regular public school. So, due to my being a serious hockey player, AND I also worked in my father’s grocery store, I had very little time to sleep. Luckily, I never needed more than 4-5 hours a night.
Yes, I celebrate the major Jewish holidays when I’m near family, in Holland or Canada and USA. When I’m in Denmark or Germany at holiday times. I don’t. I’m not very religious in the strict way. I just believe there is a Creator, and a reason for life, and people should be good to other people (Golden Rule) and good to animals, and good to The Earth.
I bought all those records you mentioned above when they were released.
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Landini said:
Wow! You sound like you were busy growing up! You must have quite a music collection! Have a great day!
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Kevin Moore said:
I’d sure like to hear a Marvin-Brenda Holloway duet. That never happened?
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Robb Klein said:
I’ve never seen any documentation of any duet of that combination, and never seen any tape, acetate, demo record or official pressed record by those two, together. All I can remember is Marvin with Mary Wells, Oma Page (Heard), Kim Weston and Tammi Terrell, Valerie Simpson (IF rumours are true), and I believe there were one or two much later cuts with “guest partners”, such as Diana Ross, Syreeta, and maybe one or two more (but that all occurred long after I stopped paying attention to current music, so I really am working from faint memory there).
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Kevin Moore said:
Thanks! You’re truly a human encyclopedia.
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Robb Klein said:
I’ve responded to a lot of your comments, but usually long after you are asleep, and I wonder if you go back in following days and look back on those threads. Have you seen my list of 30 Phil Spector produced songs you requested?
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Don't Mess With Will said:
Might drop this to a 6. Kim, Marvin, the musicians and the Andantes are doing fine work, but for me there isn’t much “song” for them to work with. Just a lumbering list, always leading to the same predictable answer. List songs can be great but this one doesn’t have an interesting enough melody or a sense of progression (an upping of the stakes) to carry it along. Which is why anything the singers or musicians try (like the changed harmony at the end) livens the song up a bit. Overall, it’s something I could tap my foot to a few times before moving on.
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