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Tamla T 54105 (A), October 1964
b/w A Need For Love
(Written by Norman Whitfield and Edward Holland Jr.)
Stateside SS 369 (A), January 1965
b/w A Need For Love
(Released in the UK under license through EMI / Stateside Records)
The thing about Motown’s mid-Sixties “Golden Age” is that it creeps up on you. There wasn’t a big fanfare to mark the start, and different people put that marker in different places, but there’s no denying we’re in it now.
Regular readers will have noticed the average marks for A-sides slowly going up as the quality threshold gets higher and higher; the unfortunate Headliners aside, we haven’t had any real duffers for quite some time now, even despite a relative lack of 45s by big-ticket, marquee artists. But with this, the Marvelettes’ eleventh single, Motown begins a remarkable late-year surge, with hit after hit from the company’s top-drawer acts. Barring an upcoming run of bum sides in November (which, as we’ll see, is more a case of the label shoving out a bunch of unwanted material in one lump, rather than any kind of real trend), Motown closed out 1964 with a flourish.
Where do the Marvelettes figure in all of this? Their place as the company’s top girl group was long gone, with first the Vandellas and then the Supremes waving as they climbed past them on the Motown ladder. The hits had started to dry up, too, each new Marvelettes release greeted with muted enthusiasm, the girls clocking up worthy but hardly spectacular chart performances. And to top it all off, this song remains most famous because the group chose to record it rather than Where Did Our Love Go, thus inadvertently handing the Supremes their big break.
All was not well behind the scenes, either, Wyanetta (Juanita) Cowart having already left, Georgeanna Tillman about to follow suit, reducing a one-time six-piece behemoth to a stripped-down trio. Gladys Horton, the group’s founder and lead singer from day one, here provides the last lead vocal she’ll ever contribute to a Marvelettes A-side; from now on, the lead voice on Marvelettes singles will be the ever-improving Wanda Young.
Did the company care about any of this? The Marvelettes didn’t have a studio album release between 1963’s The Marvelous Marvelettes and 1967’s The Marvelettes, universally known as the “Pink Album” due to its vividly-coloured cover. Sessions for a mooted LP in 1964 – which is where this recording comes from – eventually came to nothing on the album front. Between that and the general lack of enthusiasm Motown now showed for its first great group, this means that their material cut from 1964 to 1966 (which wasn’t really collected anywhere until the two box set volumes of their complete albums, Forever and Forever More) ends up in a kind of no man’s land, even when there were more than enough great cuts in the vault to issue a killer album somewhere in there.
Yet through it all, damn it, these are the Marvelettes, and from here on in, in the face of near-indifference from Motown – but buoyed by the support of Smokey Robinson, who’d go on to become their champion and strongest writer – they’d spend the rest of the Sixties quietly churning out great material. Of the fourteen* Marvelettes singles left to be covered here on Motown Junkies, there’s not a bad one in the bunch, and some of them are considerably better than that. They were never forgotten, people still knew their names, but they should have been superstars. Well, if that recognition has to come in hindsight, so be it: let the drive to reappreciate the mid- and late-career Marvelettes begin right here.
* (Fourteen, because us lucky Brits got an extra one in 1969 that never appeared as a 7″ in America – for a fun bit of trivia, can you name it before we get to the end of the review?)
This absolutely isn’t the sound of a defeated group. Indeed, it’s arugably the most confident thing they’ve given us yet. A kind of muscular sass pervades this, helped by the barrelling backing track, which we haven’t really seen on Marvelettes records in the past; they’d done plenty of feisty, forceful numbers, but this is a different kind of thing, tempering anger with defiant foot-stamping. Confident is the word.
It’s a song of confidence, of course. The lyric cleverly turns the old maxim for the recently-dumped (“don’t worry, there’s plenty of fish in the sea”) into a defiant kiss-off (“There’s too many fish in the sea to waste time on losers like him“), and it’s internalised, Gladys’ narrator moving almost imperceptibly from dishing out advice to reaffirming her own independence, implying she too has just been screwed over.
But it’s not just lyrical: this is a different confidence. The Supremes cultivated a kind of vulnerability, even as they rode HDH’s bulletproof 4/4 backing tracks; the Vandellas were loud and proud, hard-edged in places, sure, but also dignified, and even at their most defiant (Come And Get These Memories) Martha Reeves’ narrator still sounded like she needed to draw confidence from the song and the listeners, not the other way around. This, though, is a complete wake-up call, the Marvelettes still approachable, game for a laugh, treating teenage romance as a throwaway fling rather than a big drama, certainly not a matter of life and death. Hey, you, snap out of it! Put down your tissues, stop cradling your diary, and go out and dance!
That it ends up the best Motown wash-that-man-right-outta-my-hair anthem since Come And Get These Memories is kind of a title won by default, but it does illustrate a new role for the Marvelettes, a space they could have occupied as part of an all-conquering triumvirate of exceptional Motown girl groups. In fact, they’d soon move in an altogether different direction than sassy, finger-snapping R&B-pop, best encapuslated by both the contents and title of their 1968 album Sophisticated Soul, but it’s interesting to see them try this out here all the same.
It’s a good song, and whilst it’s clearly not as good a song as Where Did Our Love Go, it’s almost certainly a better fit for the Marvelettes. They’d almost certainly not have had as much fun, or success, with that one, even if it did end up handing a rival group the initiative forever. (Check out Katherine Anderson Schaffner’s quote in that review as to why the group chose this song instead – they make for interesting reading.)
But this is a whole different kettle of, well, fish. There are some great moments to be treasured here, not least that intro, a descending blast of horns leading to bongos and bass behind Gladys’ spoken mission statement:
Look here girls, take this advice, and remember ALWAYS in life…
…feeding into a super verse melody, capped by the repetition of We’ve all got to cry sometime / I said, sigh sometime / Pull yourself together / No use cryin’ forever. Gladys and the girls have never sounded as good as they do here; they’re growing up, and given that this is an advice song aimed at teenage relationships (even quoting the narrator’s mother at one point!) I can’t decide whether that’s especially appropriate or especially ironic. There’s even a great classic girl group rundown with each Marvelette getting their own moment solo on the mic –
I said there’s short ones…
#tall ones…
#fine ones…
#kind ones
– which doesn’t exactly work, or make the record better or anything, but which is fun and humanises the girls so that this male listener isn’t unduly offended when Gladys throws out lines like If the fish isn’t on your line / Bait your hook and keep on tryin’.
The biggest surprise about this, though, is that the band track is so dynamic. A super performance, illuminated by growling, angry horns culminating in another splendid solo Motown sax break, it’s the sort of thing that, in years past, might have threatened to overwhelm the Marvelettes on their own record – it’s no surprise it was later prepped as an instrumental single credited to the band, with the girls’ vocals scraped off – but instead Gladys more than holds her own. All of which means we should appreciate this for what it is, rather than the lost opportunity it supposedly represents; a Supremes’ version of this would probably have been terrible.
I don’t like the tune as well as some of the other Marvelettes tracks we’ve seen, or many of the ones we’ve yet to see, which is the only reason this isn’t going any higher: there’s really nothing wrong with it at all. Probably the best-sounding Marvelettes single to date, certainly the most “grown up”, and – again – excellent.
(And the answer to the trivia question is “Reachin’ For Something I Can’t Have”. So, er, well done if you got that.)
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:
- Earl Van Dyke & the Soul Brothers (January 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 The Marvelettes? Click for more.)
The Headliners “You’re Bad News” |
The Marvelettes “A Need For Love” |
DISCOVERING MOTOWN |
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Motown Junkies presents the finest Motown cuts, big hits and hard to find classics. Listen to all past episodes here. |
Dave L said:
Answering the quiz question first: “Reaching For Something I Can’t Have,” from Sophisticated Soul.
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Dave L said:
Doh! I didn’t scroll down to see you gave the answer anyway. While on the subject of lost ones, didn’t “Finders Keepers” get into the hands of you lucky Brits too? Was it the flip side of “Reaching,” or was it something earlier?
What’s not to love about this one? The authoritative quality that was always with Gladys probably never got a better platform than this song. It’s a great song for turning useless feeling sorry for yourself into a much healthier sense of insult. We’ll never know how many broken hearts it assisted in healing, and helped the wounded party get aggressively back in the game. Horton probably never called herself a therapist, but that’s what she is here.
And there’s no reason to feel bad that it’s Gladys’s swansong on a topside. “Anything You Wanna Do,” “I Think I Can Change You,” “I Need Someone,” and “Keep Off No Trespassing” are terrific sides, and all lay ahead yet.
You did a beautiful job again, Nixon. 🙂
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The Nixon Administration said:
This is a tangled one, so stay with me 🙂 “Finders Keepers Losers Weepers” wasn’t a single as such, but Tamla Motown UK ‘released’ it (with cat # TMG 1000, out of sequence) as a bonus disc in a 20th Anniversary box set of classic TM seven-inches in 1980. It was a double A-side with Kim Weston’s “Do Like I Do”. Copies of the individual vinyl sometimes turn up on eBay, and some discographies have mistakenly put it as a proper release from 1975 (slotting it in where TMG 1000 should have gone – in fact there was no actual TMG 1000).
I was going to include it as a surprise bonus (like the fan club greetings disc) when we get to 1980, in about twelve years’ time. So, er, can you all just forget we discussed it here by then, please? 🙂
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Robb Klein said:
For one of the few times we agree on a rating. I’d give it an “8”, as well.
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The Nixon Administration said:
Blimey, first Mickey McCullers and now this! Don’t worry, I’m sure we’ll be back to total disagreement soon enough… 🙂 Thanks Robb.
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Landini said:
Wow! You guys agree on something. Agree this is a good one. I also like Mitch Ryder’s remake where he throws in a bit of “Three Little FIshes”. I believe the Young Rascals tried their hand on this one as well.
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Mickey The Twistin' Playboy said:
It rates 10/10 for me!
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MichaelS said:
“8” is spot on. Why it didn’t make it into the Billboard Top 20, however, is a mystery to me.
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Damecia said:
Oh wow! I thought this was a sure Billboard Top 10 hit. Thanx for the info = )
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MichaelS said:
It went to #25 (pop) on Billboard and #21 on Cashbox.
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144man said:
The Velvelettes had already warned us that good guys were like finding a Needle In A Haystack. Here the Marvelettes give us the other side of the argument. Bearing in mind the number of Whitfield-Holland tracks that the Velvelettes cut, it is surprising that they didn’t record a version of this themselves.
When pirate radio station Radio London was first launched in the UK, “Too Many Fish In the Sea” was one of their most played records. Unfortunately theiir audience wasn’t yet big enough to make it a hit.
My rating is also 8.
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Damecia said:
Love your shoutout to the Velvelettes here!
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MotownFan1962 said:
You’re very clever! You could be a writer. I can tell The Way You Do The Things You Do.
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Damecia said:
Hi gang! Hope all is well with everyone = )
The Marvelettes are my 2nd favorite girl group at Motown, so I was delighted to see a post featuring them. Nixon has done a fabulous job of defining what kind of group The Marvelettes were with this song. To paraphrase him The Marvelettes were just a little bit louder and confident than the other Motown girl groups and this song demonstrates that to the fullest.
On this track Glady’s sounds like a friend’s older cousin whom all the girls were eager to seek romantic advice from (lol). So wise, knowledgeable and experienced. When the girls go into their “tall ones/ fine ones/kind ones” bit they sound like her agreeing clique (lol).
I like this song alrite. Not my favorite Marvelettes track — that goes to “Don’t Mess With Bill.” This song sounds too much like Smokey IMO —not that it’s a bad thing, but he’s all that I hear when I listen to this song. With that said, the Funk Brothers do sound incredible here and so do the girls. All in all, this was a fun record that sent an important message out to girls “Too Many Fish in the Sea” to cry about one.
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144man said:
Can’t you just imagine an alternative universe where the Marvelettes recorded a song called “Too Many Pebbles On the Beach – rough ones/ smooth ones/ hard ones/ cool ones”?
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The Nixon Administration said:
“And if that pebble ain’t underfoot / walk the beach and take another look”
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Damecia said:
LMAO! Sounds like my kind of song = )
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Damecia said:
Oh yeah, for all US reader TV One will soon be showing The Marvelettes on Unsung. Can’t wait to see this = )
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Mary Plant said:
Details, please Damecia! I’m not sure that we get TV One, but if we do, I sure would love to see this!
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Damecia said:
Hey Miss Mary!
Here’s the link that offers a brief description (mini bio) of the Marvelettes episode:
http://tvone.tv/about-unsung/episodes/season-6
I think the episode airs July 2. Hopefully once it airs TVOne will put it on their site or someone will upload it to Youtube.
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Mary Plant said:
Thanks, Damecia – just took a quick look at the website & the season looks extremely promising!
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John Plant said:
My only quarrel with this is your rating – this is certainly a 10 for me, superior to ‘Come and Get These Memories’ – and equal to ‘Where Did Our Love Go’ . But you certainly nailed the ontological terrain of each of these three great groups. I find this song utterly intoxicating and irresistible. A superlative and exhilarating Declaration of Independence – Amen!
Motown’s immortal ‘advice’/’proverb’ songs come in several flavours: the upbeat/inspiring ones (this, and Beauty’s Only Skin Deep); the menacing/minatory ones (Danger Heartbreak Dead Ahead; You’ve Been In Love Too Long); the ‘Watch-your-step’ cautionary tales (A Bird in the Hand/You Can’t Let the Boy Overpower). Probably a few other categories – but Motown certainly perfected the art of delivering amatory medecine which the patient just loves to take … better than those ‘different-coloured hard-to-swallow pills’ which Marvin Gaye celebrates in another context entirely….
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144man said:
Some of the advice songs weren’t even released like Martha’s “All That Glitters Isn’t Gold” or Martha’s/ Carolyn Crawford’s “Keep Stepping (Never Look Back)”. My advice to the Releases Department would have been “Don’t Put Off Till Tomorrow What You Can Do Today”, courtesy of the Monitors.
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Damecia said:
Well said John!
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Nick in Pasadena said:
I agree with you on this one! A great record, but there’s something missing that keeps it from being a 9 or a 10 for me. That “something” must have kept me from purchasing it when it first came out…although, years later, I did go through a period where I thought, “Damn, this is pretty good! Why didn’t I realize it before?” Part of the explanation might be the song’s structure. It has the great intro, a dynamite vocal by Gladys, and the hook of the girls alternating the attributes of all the “fish in the sea,” but it just carries on in that vein without developing further.
(On a side note, I gave a listen to some of the cover versions, by Mitch Ryder, Earl Van Dyke and the Tremeloes (!), and all are more or less unnecessary.)
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Damecia said:
Completely agree with you about this tune Nick!
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Landini said:
Yo Nick. Agree that the Marvelettes totally own this song, but I do enjoy Mitch Ryder’s version too! Damecia you ought to check out Mitch’s version! Wow! Didn’t know the Tremeloes did a version. I like the Tremeloes, but can’t imagine it. A dear friend of mine has a Tremeloes Greatest Hits CD. Wonder if “Fish” is on that. Back to Mitch Ryder, he obviously loved Motown as he did his own revved up version of “Devil With A Blue Dress”. I believe Mr Ryder did a few more Motown remakes as album filler. Have a great day Nick, Damecia & Motown friends!
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treborij said:
Nixon, great write up. But I’m surprised you downplayed Norman Whitfield’s role in the track. I think he’s a major reason the Marvelettes had such a gutsy track backing them. He seemed to be working on giving Motown girl groups an edgier sound with the Velvelettes “Needle In The Haystack” but it all came together with this one. I’m kind of glad they chose this tune over Where Did Our Love Go.
Bought this record when it first came out and have loved it ever since. Used to have me bopping like a fool. Nick (in Pasadena) mentioned unnecessary cover versions, and believe me, you haven’t heard an unnecessary cover version until you’ve heard a garage band of 14-15 year old white boys trying to do a gender-reversal version of this song. Ahhhh, but our hearts were in the right place.
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Damecia said:
LOL cute!
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ExGuyParis said:
I still haven’t gotten over your rating on “Dancing In The Street,” which is, for me, quintessential Motown. And this rating causes me a bit of pain as well! The Funk Bros have never sounded better (just listen to the track without the lead vocal, on the Motown Karaoke CD… or the Funk Brothers/Earl Van Dyke studio version with extra organ thrown in, or the live jazzed-up, souled-up, sped-up instrumental take from “Earl Van Dyke et son Sextette” from the Motortown Revue in Paris) . This is a song I could listen to non-stop for days, appreciating something different and remarkable on each spin.
I love the “preachy” spoken intro, and the five attention-getting blasts from the musicians. The bongos, the rattle of the tambourine… the heavenly back-up harmonies… the good advice from Mama (Don’t worry about him, let him go, do without him…”),,, the wailing hot sax… the back-up “Dooo -do-do…DOOO-do-do!”
I adore the way Gladys shares the message with the other voices; she delivers “Because there’s” then lets the others supply the “too many fish in the sea” as she throws in a “Um hum” or “Uh huh.” I adore the way she takes us to the end… subtle, sassy, with calm control, wrapping her words around the repetitions of “too many fish in the sea” from her partners.
But hey… of course we disagree on certain ratings. Who cares! Different strokes for different folks. Tour reviews are fantastic. Ah, the memories!
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Abbott Cooper said:
One more thing. Those 8 consecutive bass strokes repeated in the fade. Classic stuff.
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Ron Leonard said:
By this time, Norman Whitfield was evolving into one of Motowns great producers and writers….”Girl( Why You Wanna Make Me Blue)”, “Needle In A Haystack” and of course a mainstay for the Temptations as time goes on.
On this one, I enjoy the backup where the at the end of the chorus of ‘Too Many Fish In The Sea”, the girls hold onto the word “Sea” in almost a growl..SEEEEE..AAH!!
By the way, later on in late 1969, I LOVE their version of ” That’s How Heartaches Are Made” from the “Return Of The Marvellettes” LP..Yes, Baby Washington who recorded this song earlier in the sixties is a classic on its own however, the Marvellettes version give it a run for its money..
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treborij said:
Ron – Just first heard the Marvelettes version of this song when I picked up “Forever More” a few months ago. You’re right, their version is really good and comes pretty close. But for me, the Baby Washington version still rules. One of my favorite songs of hers. And she’s one of my favorite singers of that early 60s era.
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Ron Leonard said:
I first heard “That’s How Heartaches Are Made” by the Marvellettes in November 1969 on the “Wolfman Jack” show which aired on a Mexican radio station XPRS which I could get on my little radio up here in Oregon late at night..The Mighty 1090 I believe it was from Tijauna Mexico, which is approximately 1100 miles South.. I didn’t hear Baby Washington’s version until later on in my radio career when I worked at an Oldies Station…and yes, I agree I love the original..I have both versions in my music collection..and it’s a GREAT song to begin with.
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Randy Brown said:
Side one of Baby’s “Heartaches” LP (Sue 1014) is magnificent, a masterpiece of orchestrated soul. My older sister played that side of the album nearly to death in the mid-60s. Side two has her earlier, R&B-oriented Sue stuff, kicking off with the amazing “Standing on the Pier,” but isn’t nearly as impressive. The Baby has never really gotten her “props” among American soul fans.
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Robb Klein said:
Baby Washington’s original version of “That’s How Heartaches Are Made” is one of my all-time favourite songs. I bought it as soon as I had heard it. The Marvelettes’ remake is wonderful as well. One of the few remakes I like a lot on its own merit. I also like Baby’s recording of “It’ll Never Be Over For Me”.
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Damecia said:
I love Baby Washington’s and The Marvelettes version of “That’s How Heartaches Are Made” but IMO Dusty Springfield’s version is the best.
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treborij said:
Damecia – Love Dusty and like her version too. One of my favorite things about her was that she frequently cited Baby Washington as one of her favorite singers. Not many people remember her today. Glad you know who she is.
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Damecia said:
Yes, Dusty was great it’s a shame she’s so underrated today. Noone hardly ever mentions her! Her version of “That’s How Heartaches Are Made” is sooo smooth, soulful and sexy –all things that define Dusty. Also glad to hear Dusty gave credit to Baby Washington when credit was due.
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Landini said:
Wow! Some people out there who like Baby Washington. Love her original of “Heartaches” & the Marvelettes version too. Will have to track down Dusty’s version. Damecia, if you are able check out B Washington’s song “Handful of Memories”. I love that one! An oldies station in Wash,DC used to play that a lot back in the early 70s. Very belated congrats on your graduation! Way to go!
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Landini said:
Yo Robb! I saw that you mentioned BW’s “It’ll Never Be Over For Me”. Great tune my man! Have you ever heard the version by Mexican group Thee Midniters? Kinda cool too!
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Damecia said:
Thanx Grandpa Landini! = )
I will most definitely checkout Baby Washington’s “Handful of Memories” I never heard it before.
Out of the 3 women/groups mentioned Dusty’s is my favorite singer of “Heartaches” she’s just sooo smooth & soulful.at the same time. Washington would follow second. The Marvellettes version is my least favorite. The intro is just too busy for me & I dnt like Wanda’s delivery.
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Mickey The Twistin' Playboy said:
I don’t think I’ve heard Dusty’s. I’ll have to look for it.
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Landini said:
Mickey & Damecia & friends, Speaking of Dusty, it is interesting to speculate on what Motown would have done with her had she signed with them. Motown tried to groom their own Dusty with Chris Clark & were unsuccessful. Re. Dusty/Motown, on paper this looks like a musical marriage made in heaven but you never know. I actually thought Dusty in Memphis (which is of course a great album) sounded more like a Motown production than a Memphis production. Any thoughts gang?
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Damecia said:
Mmm…this is an interesting thought Grandpa Landini. IMO Dusty could have done great things at Motown, but only with Smokey Robinson or with H-D-H, now that I think about it even Ashford and Simpson. Smokey would’ve brought out the sexy side, H-D-H the pop side and Ashford and Simpson the soul.
Chris Clark lacked the coolness, phrasing, and most importantly the soul that Dusty possessed. Dusty was the woman who inspired the Queen of Soul to record a song song (Son Of A Preacher) that she had previously turned down. IMO Dusty still holds the title of Queen Of Blue-Eyed Soul. No one could touch her!
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Abbott Cooper said:
For a good example of what Dusty could have done at Motown, check out her rendition of “I Can’t Hear You” on the Motortown Review’s visit to the Ready Steady Go show. A terrific performance by Dusty, backed by Earl and the Brothers. This show was syndicated and shown in the USA.
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treborij said:
Randy,
>>Side two has her earlier, R&B-oriented Sue stuff, kicking off with the amazing “Standing on the Pier,” but isn’t nearly as impressive. <<
Agreed. Side one of the album is a great example of New York soul of the period. Love that side. And "Standing On The Pier" is my favorite Baby Washington track. It's so bleak, desloate and she sounds wonderfully distraught. Also love the way the band sounds on this one.
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Robb Klein said:
Yes. BOTH versions are terrific! Perfect 10s – each in its own right, for different reasons.
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Abbott Cooper said:
There are certain songs whose time of release and popularity you will never forget because of unique circumstances. Baby Washington’s version is one of them. I had just relocated from the Bronx to Queens , within NYC, in late 1962, and proceeded to take several walks to explore my new ‘hood, accompanied by my transistor radio, which I played, loud and proud, while moving at my typical fast clip. I even remember what street I was on as Ms. Washington was entertaining no one but myself, since I began to conclude that nobody in this new environment had any idea who she was, and I can safely report that 99.99% of those with whom I shared the street that day who are still breathing 55 years later still have no idea who she was. Their loss.
As for the Marvelettes’ version, which I heard within the first hour of opening the group’s Anthology, courtesy of the generosity of one Berry Gordy (the story behind that adventure has already been explained in the comments section of a previous Marvelettes side), was excellently done. The drummer’s rapid fire backbeat throughout the verses is a work of art. You’re right , Robb. One great song, two thrilling performances.
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Governor Milton P. Shapp said:
This is one of those tunes I heard for the first time years after it was released and It caught my ear immediately. I have to disagree with The Administration- I think the trade-off vocals on the “short ones, tall ones…” part really does make it a better record. To me that’s the hook, and the changing voices make it a little more memorable than it would be otherwise.
If “Heat Wave” is a 10, (and it is), this is a 9. The backing track alone is worth a bunch of points, and I love the sentiment too. I read where Gladys Horton liked this because of the bongoes and percussion, so it seems as if the track was already finished when the song was being pitched to the group.
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MotownFan1962 said:
How is this classic “not as good” as “Where Did Our Love Go”? This song deserves nothing less than 10 out of 10!
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MotownFan1962 said:
“…a Supremes’ version of this would probably have been terrible.” Unless Flo led it.
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bogart4017 said:
The musical break on this tune is a killer! Whoever is playing the sax deserves a 9/10 by himself.
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Gordon Reynolds said:
Great site, just catching up…….
This is a great 45, sounds great 50 years on. The most played Motown single on my jukebox.
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The Nixon Administration said:
Thanks Gordon! The site’s having a bit of an unplanned hiatus due to real life inconveniently encroaching, but there are several new entries almost ready to go for a quiet relaunch soon 🙂
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Gordon Reynolds said:
Looking forward to that!
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Kevin Moore said:
“HDH’s bulletproof 4/4 backing tracks”
QUESTION: First of all, for me, the fact that you’re a self-professed non-expert in music theory works in your favor, leading you to make a lot of really interesting observations that music geeks might miss. But what exactly do you mean by “4/4”? I’m still trying to get to the bottom of what it is that differentiates what I’m been calling an “HDH shuffle” (like Baby Love) from an old-school shuffle (like almost everything from the 1950s). This particular track, in contrast, is not any kind of a shuffle. Most Motown tracks don’t have a prominent conga part like this one, but there’s a whole family of them where you can sing this standard conga pattern – if it fits, it’s definitely not a shuffle. Technically both shuffles AND this type of Cuban-derived groove are “4/4” … or, depending on how you think of it, you could say that a shuffle is really 12/8. Anyway, I’d be interested in hearing you “talented layman” categorization of the various Motown grooves, with examples of each.
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Abbott Cooper said:
Over a year and a half, and you’re still waiting. I wouldn’t understand the distinctions you’re seeking anyway. But I’m glad you mention conga, and I’m talking about the drum and not the beat. I seem to be hearing a conga drum in the recording and not bongos, which have a higher pitched sound.
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