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Tamla T 54108 (B), October 1964
B-side of Pretty Little Angel
(Written by Clarence Paul)
Tamla T 54114 (B), March 1965
B-side of Kiss Me Baby
(Reissued as B-side for different single)
Tamla Motown TMG 505 (B), March 1965
B-side of Kiss Me Baby
(Released in the UK under license through EMI / Tamla Motown)
Clarence Paul, appointed to be Stevie’s first regular writer, producer and general all-round “handler” at Motown, would find himself becoming less and less important as Stevie’s career developed. As Motown’s mid-Sixties Golden Age got into full flow, Wonder would increasingly be recording other people’s songs (and, of course, his own songs), and Paul found that his opportunities to sit in the producer’s chair began to dry up, Henry Cosby picking up the lion’s share of late-Sixties producer credits on Stevie’s records.
It’s kind of a shame, because while you wouldn’t really want to swap Stevie’s later output for any kind of alternate-universe discography of songs we’ve never heard, well, Paul was a great writer in his own right, a vital staffer in those uncertain early days while Motown struggled to keep the lights on, and his “reward” – being assigned to, and kept in charge of, one of the label’s major acts – didn’t really work out; Stevie was in many ways the “wrong” project, as when the boy Wonder grew up, he grew in a different musical direction, eventually becoming probably Motown’s best writer-producer of the Seventies in his own right.
But don’t feel too bad for Clarence – he’d had other opportunities to work with different Motown stars, opportunities he didn’t take. The most glaring of these was when he was given the Supremes (then a floundering girl group, little-known and little-respected even in the corridors of Hitsville), and took them in a bizarre new direction which resulted in the girls spending much of 1963 recording cuts for what eventually became the unloved 1965 LP The Supremes Sing Country, Western and Pop, and which ultimately led to this, yet another weird entry in Stevie Wonder’s early catalogue.
Other than the execrable (The Man With The) Rock ‘n’ Roll Banjo Band, which must never be spoken of again, the most noticeable track on the album was Paul’s one and only Supremes single, My Heart Can’t Take It No More. The LP also contained another mopey doo-wop blues number, a loose variation on that song: Tears In Vain.
At some point in late 1963 or early 1964, Clarence decided to dust off the song for Stevie Wonder, which isn’t the worst idea in the world – Betty(e) LaVette ended up cutting an excellent version for Big Wheel Records shortly thereafter, so the song clearly had legs – but for reasons best known to himself, Paul decided to turn this into an uncredited duet, effectively sidelining Stevie and taking on many of the lead vocal duties himself.
It’s difficult to know what to make of this. The obvious, if uncharitable, conclusion is that (like so many other Motown producers who got bored behind the glass) Clarence Paul had ambitions to be a performer himself; he’d not only cut a (credited) duet single with Stevie, the horrible Little Water Boy, back in 1962, he’d also recorded a few very fine solo demos that went nowhere but Wigan (e.g. You Stay On My Mind).
But however well-intentioned, his power grab on this song is a mistake; whether he wanted to try and get some exposure, or whether he just felt the difficult-to-sing material needed something to bolster Stevie’s voice, Paul’s high baritone ends up dominating the midrange here, inadvertently casting the adolescent, high-voiced Stevie in the role of a female duet partner, pushing him into the midst of the cooing Andantes’ background vocals and making him sound like a girl. (They actually sound more like Marvin Gaye and Mary Wells than Stevie Wonder and a supposedly uncredited, unobtrusive background vocalist; I mean, sure, you can recognise him, but I’ve got to be honest and say that hearing this cold, without being prewarned, I’d never have tabbed this as a Stevie Wonder track.)
Perhaps the song just isn’t made for Stevie, which then prompts the question as to why it was given to him in the first place. Maybe someone else could have done something better with it, or maybe it would have worked if credited to Clarence Paul instead. It’s a stronger recording than the Supremes’ version, bluesier and harder, the percussion not as forceful as it would become on LaVette’s even better take but nonetheless it’s moving in the right direction. It ends up as a single-scoop serving of pleasing low-key balladry, and it’s obviously a decent song, but it’s got less to do with Stevie Wonder than anything since he dropped the “Little” from his name, and as such it needs to be seen as a step backwards, nice enough though it is.
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 Stevie Wonder? Click for more.)
Stevie Wonder “Pretty Little Angel” |
The Four Tops “Without The One You Love (Life’s Not Worthwhile)” |
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. |
The Nixon Administration said:
Apropos of nothing, my appearance on Radio Cardiff last Saturday will be available to hear online here for 7 days:
http://soundcloud.com/soulfulsaturdaybreakfast/soulful-saturday-breakfast-on
My bit starts around 54:00 (though it’s a great show all through!). I had a sore throat and a headache, so be nice 🙂
Tracks played:
Four Tops: “Baby I Need Your Loving”
Mary Wells: “Oh Little Boy (What Did You Do To Me)”
Marvelettes; “Knock On My Door”
Singin’ Sammy Ward: “Then You Changed”
The producer kindly sent me an MP3 of just my part of the show, but I can’t do anything with it (I tried hosting it here, but I have to pay; I tried uploading it to Youtube, but it’s too long) – any suggestions, anyone?
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Damecia said:
Have you tried Soundcloud???
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The Nixon Administration said:
Embarrassingly, no, I hadn’t. But I have now. So, er, enjoy:
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Damecia said:
Great & informative show Steve D! Love the Mary Wells & Marvelettes track. Btw I apologize for months I’ve been thinking your name last name was Nixon lol.
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The Nixon Administration said:
You were meant to – I was a bit surprised the DJ used my real surname 🙂 “The Nixon Administration” was the name of a band I dreamed I was in once. (We were amazing, obviously.) It’s a name I started using way before I started writing about Motown, and thus before I knew there was already a very well-known Motown writer who really was called Nixon, hence the disclaimer on every page as to who I’m not.
Thanks for the very flattering Twitter mention. I thought I was distinctly uncool, I had no notes and an absolutely honking sore throat all the way through… My bit went down very well with the listeners, I’ve been invited to become a regular co-host on the show!
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Damecia said:
Whoop whoop! I’ll be listening. Congratulations! Notes or no notes you were still DOPE! Yep I said DOPE in all caps (LOL). The vast Motown knowledge you have is amazing not to mention you brought great unknown Motown songs to be played. (Without this blog those songs would have been new to my ears).
Ah, yes I have seen the disclaimer on the pages lol. Glad to know I haven’t been calling you the wrong name…kinda sorta lol.
No need to thank me for the Twitter shoutout great show & this is a fantastic blog. = )
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Damecia said:
I would not have guessed this was Stevie Wonder on this song either! (LOL). This definitely should have been labeled a male duet because whoever the dude on the track is not necessarily outsinging Stevie — he’s just way louder.
But regardless, there is something likeable about this song. The chorus isn’t distinct, but the harmony makes up for that. A great song about a person wondering (in this case a guy) if all the tears they’re crying for their lover is in vain.
This is so good of a song I would love to hear how Skeeter Davis, Brenda Lee, Tammy Wynette or even Loretta Lynn would have sung this song.
Not a good song for Stevie or The Supremes for that matter, but a good song.
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Robb Klein said:
It was Clarence Paul, a very good singer in his own right. I don’t think, Nix, that Clarence wanted to revive his singing career. He was enticed from New York to come to Detroit (Motown) to produce records and have an outlet for his songwriting. He did some solo recording in The Snakepit, but, as most of the mixes are unfinished, I’d guess they were mostly demos for his singers to use.
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Ron Leonard said:
” Baby I Need Your Good Lovin..Got to have your love..Right Now..Baby!!” Am looking so forward to the next entry on “Motown Junkies” Classic Four Tops!!
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Damecia said:
Thanx! Paul wasn’t a bad singer.
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The Nixon Administration said:
Indeed, he was a very GOOD singer, as a browse around Youtube for his name will attest; he cut lots of demos which are prized on the Northern Soul circuit. It’s just that (as Dave mentioned) it’s the sort of thing that gets people’s backs up; Frank Wilson and Ivy Jo may have seen their putative solo careers crushed, but at least they tried to go it alone. Paul (and Norman Whitfield, for that matter) were heavily cricitised for giving the appearance of trying to use their more famous acts to get into the performing limelight by the back door… but that’s a story for another day!
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Damecia said:
Can’t wait to hear this story! (LOL) = )
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Dave L said:
Here’s what Nelson George has to say about the Stevie-Clarence business in his Where Did Our Love Go, St. Martin’s Press, 1985, and picking up right after discussion of “Uptight”:
>>Following Motown policy, Stevie’s next single was a stale reworking of “Uptight” called “Nothing’s Too Good For My Baby.” It did well, reaching number four R&B, but prepared no one for his subsequent single, a cover of Bob Dylan’s civil rights and antiwar anthem, “Blowin’ In The Wind.” Away from Motown’s studios Stevie liked to arrange his own versions of non-Motown pop music, but unlike the standards that Clarence Paul had taught him, Stevie enjoyed working with songs like Dylan’s “Mr. Tambourine Man” and “Blowin’.” Clarence Paul encouraged him and collaborated with him on a treatment of “Blowin'” that featured the producer on the high-pitched background vocal. Though Paul’s production was overblown, especially in comparison to the spartan acoustic guitar-and-harmonica original, it was still a radical departure from Motown, one that made it into record stores due to Paul’s lobbying efforts. Arguing that, because of Stevie’s age and the young, hip, white audience that revered Dylan, it was a good career move for Stevie, Paul managed to overcome internal company skepticism.
“Blowin'” did well on the pop chart, reaching number nine. Most importantly, though, the song went number one on the R&B chart, solidifying Stevie’s belief that black musical tastes weren’t as narrow as most record companies, including Motown, often thought they were. In Stevie’s ongoing education, that was a critical lesson; from then on, Stevie would always attempt to lead his core black audience forward, and would never pander to stereotypes.
The success of “Blowin'” didn’t silence criticism of the record inside Motown, but this time, Stevie wasn’t the only target. Instead, Clarence Paul was criticized for exploiting his young charge in attempt to revive his own singing career, the evidence for which was the prominence of Paul’s voice on “Blowin'” and his performance of the song with Stevie on stage. According to another Motown staffer, Paul was accused “of trying to ride Stevie’s coattail.”<<
In the summer of '66 I was 12, and I didn't know who the hell that guy was singing with Stevie; only that I loved and bought the record quickly. White or not, I was no hippie and no folkie, knew that Dylan was extremely regarded, but didn't turn into fan of his singing until very late: the divinely antagonistic “Gotta Serve Somebody” in 1979.
So Stevie and Clarence were right that filtering Dylan through Motown would raise regard for both themselves and Dylan among soul music buyers. If Clarence occasionally turned up again on Stevie singles, and the songs were good ones, it would have been alright with me.
And I disagree, incidentally, with George’s dismissive, “stale reworking” remark. In late spring of ’66, when Uptight was released, it, like Going To A Go-Go, and a couple Tops, Temps and Supremes LPs at that point, was great listening, end to end. As singles’ sides, “Blowin’,” “Nothing’s Too Good For My Baby,” “Ain’t That Asking For Trouble,” “With A Child’s Heart,” “Music Talk” and “Hold Me” were all welcomed Motown tunes.
🙂
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Damecia said:
Nice excerpt! Demonstrates exactly why I admire Stevie Wonder. Forever thinking outside the box, experimenting and broadening horizons.
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Robb Klein said:
I grew up listening almost exclusively to Black American music, having listen to it while my parents were listening to their records, and the radio. i NEVER listened to the “pop” stations (only the R&B/Soul stations) once we moved to Chicago, and also listened later in San Francisco and L.A. and “The Soul Show” in The Netherlands. I didn’t like the American folk music popular in the ’50s and ’60s. I HATED “Blowin’ In The Wind” sung by Bob Dylan (heard years later). But, I LOVED that song sung by Stevie Wonder (the part sung by Clarence Paul is, to me, the best part). Of course I was very indifferent towards “Walk Away Renee” by Left Banke (or whoever sang its original version), but LOVED The Four Tops’ version.
I also loved, very much, Clarence Paul’s part in “Little Water Boy”, actually a song I like very much. I wish Paul would have had a singing career at Motown. I was VERY disappointed when Motown moved away from more Gospelish and Bluesy recordings. I love Paul’s production job on The Temptations’ version of “Mind Over Matter”.
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benjaminblue said:
It’s always frustrating to hear people piling on the much-maligned Sing Country, Western & Pop Supremes’ album. No, it wasn’t a “Motown” album, but it has many interesting moments. And Tears In Vain (and Funny How Time Slips Away) come very close to the sound of the 1965 (lower-pitched Diana Ross, speaking a bit in a soft, sexy way) that everyone would come to love on, for instance, the More Hits album.
Maybe taking The Supremes out of their usual r&b mode for a time helped them find a new method of presenting themselves confidently as versatile song stylists, a plus when they were asked to sing Do Not Forsake Me Oh My Darling and a Paint Your Wagon medley on a Bing Crosby TV special in 1969 or when they sang an Old-Songs medley on a Tennessee Ernie Ford TV special in 1968 — not to mention the special material Fats Waller, Irving Berlin, Cole Porter and Rodgers & Hart songs they performed on The Ed Sullivan Show. It is hard to imagine that any other Motown group or any other pop group of the mid-1960s would be asked or would have the ability to pull off these accomplishments.
I think, at least in retrospect, that it was a shrewd marketing choice, as it gave Berry Gordy the opportunity to showcase the Supremes as a multi-dimensioned group.
In any event, when I bought the album in mid-1965, after purchasing, in order, More Hits, A Bit Of Liverpool, Where Did Our Love Go and Meet The Supremes, it only enhanced my appreciation of the group, and I listened to all of the albums frequently, sampling Tears In Vain on the CW&P album and Never Again and Your Heart Belongs To Me on their respective albums if I didn’t have time to play the albums completely.
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