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Tamla T 54106 (A), November 1964
b/w Go Ahead And Laugh
(Written by Sylvia Moy and Mickey Stevenson)
Stateside SS 359 (A), November 1964
b/w Go Ahead And Laugh
(Released in the UK under license through EMI/Stateside Records)
Regular readers will know that, while I adore a banging 4/4 Northern Soul stomper, I’ve got a real weakness for big, grandiose ballads with pretty tunes and the turning circle of a supertanker. When they’re done well, that is – the line’s none too fine between, say, Brenda Holloway’s I’ll Always Love You and some eight-minute dirge by Celine Dion, but it’s there all the same. Luckily, Motown’s grand gestures usually earn their bombast with a lovely melody. And so it goes with Kim Weston.
Kim – who, for the uninitiated, wasn’t just Marvin Gaye’s duet partner, but a fantastic solo artist and probably Motown’s best singer – has seen action in these trenches before, her lovely rendition of Just Loving You giving listeners a hint of the remarkable power in her voice that a golden “slowie” could help unleash. This, her fourth solo single, is very much a follow-up to that record – but it’s a tidier piece, better-produced, and moreover it’s a happy song. As Marvin Gaye had already discovered, Kim always sounds great when she’s got with a smile on her face.
Motown weren’t so sure. Now that Mary Wells had left the company, there was an obvious opening for a female solo star. When Kim beat out competition from Brenda Holloway, Oma Heard and Carolyn Crawford to become Marvin Gaye’s new duettist, it must have seemed as though she had the gig sewn up. Next stop, fame and fortune.
But then the landscape changed; three Number One hits in a row from the Supremes, and big radio hits for the Four Tops, the Temptations and Martha and the Vandellas, meant that with the exceptions of Stevie Wonder and Gaye himself, Motown wanted to put its money behind groups, not solo turns. Kim and Marvin’s proposed, half-finished duets LP went back on the shelf, and this single found itself withdrawn from sale before any copies had even reached most stores. It’s now one of the rarest and most sought-after Tamla 45s.
(The same fate didn’t befall the British release, which not only appeared as scheduled, but also spawned an EP (pictured) the following year after a positive reception.)
It’s unfortunate, really, because everything about this is an improvement on Just Loving You. The tune is stronger, moving away from the lounging jazz-blues of that record and towards a new, mid-Sixties smooth R&B-pop feel instead. The whole thing’s taken at a slightly faster lick, which gives it more impetus, more of a swinging feel – it’s only being pushed along gently, sure, but it’s being pushed along all the same. If the blazing horns at the start of Just Loving You are sadly missed, they’re replaced by what sounds like a full string section, soaring into the heavens with a Hollywood overture. When the record strikes up, you half expect Doris Day and Rock Hudson to appear from stage left.
Best of all, though, is Kim herself. She’s not getting stronger or louder – oh, she’s still powerful alright (check out the full-on OH, just ignore it! at 1:50, probably the biggest note she’s yet blasted at us, followed by the throaty exclamations right after – she sounds amazing), but she already had the pipes, right from the start. No, it’s that she sounds so much more at ease with the material here, it’s a performance of remarkable judgement, showing a new level of grace and sophistication to go with the coruscating vocal. As she runs down a checklist for her partner to follow –
Just squeeze my hand instead of a mere hello
Kiss my cheek while we sit in the show
Oh, whisper softly whenever the lights are low…
– you’re right there with her. It’s not easy to deliver a line like make me know you’re mine and stay sympathetic, never mind seductive, but Kim’s got it covered.
The middle eight is just remarkable; over a bed of crashing, echoing drums, Miss Weston goes into a strange new rhythm structure where the second half of each sentence gets wrapped onto the first half of a new line, and gunned out at double speed in a staccato semi-rap that sounds even more arresting thanks to Kim’s deep, smoky voice:-
You’ve got to make sure it’s you
When-I-get-a-call, you’ve got to take me out when
I-wanna-have-a-ball, you’ve got to like my friends, but think
I’m-the-best-of-all…
Probably Kim’s best vocal performance to date, this comes across at first like a low-key song sung in a massive style, if that makes sense – but the tune is insidious and you’ll be humming it before you realise what’s happening. I’ve found myself liking this record more and more each time I hear it.
I don’t know why Motown pulled it so abruptly before it had had a chance – maybe they were cutting back on the big ballads, following the failure of Brenda Holloway’s recent similar efforts? – but it was America’s loss, because there’s nothing much wrong with this record at all.
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? Click for more.)
Marvin Gaye “Forever” |
Kim Weston “Go Ahead And Laugh” |
DISCOVERING MOTOWN |
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Robb Klein said:
I agree with your rating of 8. This is a very good song sung well. I was very unhappy that this wasn’t released in USA. I did manage to get a Canadian copy, and I have the British Tamla/Motown EP as well. It would have done well in USA. I have no idea why it was pulled back.
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gregory said:
Nixon Admin. and Robb I would also have to agree with the rating of 8!! When this came or lets say suppose to of come out . I can’t remember what the call letters where of the station was playing the record for three! weeks before they must of realized that the record was pulled!!! I could never find a copy from where I Lived at the time . There was a store that reportedly had a few copies in Chicago . When I found the telephone number to see if i could buy them or at lest 1and have them sent by mail . They already had been sold!!!! What a shame! that was a great record!! I never had the opportunity of a U.S. Pressing since!! latter a friend sent me a British E.M.I. TamlaMotown E.P. with it on it!! I would certainly love to have a Canadian Tamla PhonoDisc pressing!!also! I Also agree that unfortunately Motown dropped the ball on this one … It could of been a strong hit and sold lots of records!! what more can I Add! Nixon Admin. Steve you said it all! right On!!!!
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Robb Klein said:
Dang! A Chicago store sold more than 3 of them! I lived in Chicago at the time (and was looking for it!). Was the store Beverly Records? They had a couple of workers there who were also big fans, who might have pulled out a few extra copies before the boxes were sent back to the distributor.
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Robb Klein said:
Sorry, my memory is fading. Beverly Records started in 1967. Nevertheless, I’d liked to know the name of the store that was rumoured to have a few copies for sale (IF you can remember that!).
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gregory said:
this was so long ago! of coarse you’re talking 48 years ago!!! I should of kept that name and number!! I remember that our conversation with the manager?? possibly . went towards his extending his personal KING Label collection to include the James Brown Singles at the time . in 1964 he was starting his recognition as a polished soul artist . he had at that year had hits that was in a different mode or style than most King records at the time was known for. and He (the store manager) was not into James style back then! of coarse this had nothing to do with Kim or Tamla at the time! but if you know a store that had a manager or possible owner that was into the old King Records out of Ohio, and He had also mentioned to me that he had a Barret Strong “78” on Anna at the time if this person rings a bell and you can remember and associate it with a particular store at the time. I would like to also know!! the person and store may be long gone but I would like to place the memory with the exact store as well!!!, You have to remember that this was a one time phone contact and to no avail because the records where already sold!!! so I don’t think I saw the need to keep or save the contact. however I always envisioned them in my mind as most likely A.R.P. or R.C.A. Indianapolis, Indiana Pressings Because the store was in Chicago!!. The one here in the picture appears to be a Monarch pressing !!
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Robb Klein said:
I do remember a shop in Chicago that had a worker that knew of the Anna 78. But I can’t remember which one it was. As regards Tamla 54106, there were a few RCA Midwest pressings that showed up:
[IMG]http://i77.photobucket.com/albums/j56/Robb_K/ScreenShot2012-07-16at30108AM.png[/IMG]
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Robb Klein said:
I tried to upload a scan of it here, but the posting format doesn’t allow it. Perhaps Nixon will upload it on his opening thread.
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The Nixon Administration said:
There you go Robb – better late than never!
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Damecia said:
Man why don’t they write songs like this anymore? I’m young and I love beautiful, cleverly written songs! = ). Mickey Stevenson and Sylvia Moy shine brilliantly as writers on this record. I have to say I was surprised that this song is really GREAT. I would put this song in the same category as Nancy Wilson’s “How Glad I Am” meaning I adore the lush instrumentation and love the powerful, but not forceful or loud vocal delivery given by Kim. Also, her phrasing should get the biggest shout out. Great great great! Perfect example is the first line – “Just squeeze my hand instead of a mere hello.”
I also must give praise to the Andates! Their crystal clean backing really helps to put this track over the edge. The previous songs I have heard of Kim’s has not given her justice. She was really a fantastic singer. “A Little More Love” is jazz, r&b ,soul and gospel rolled into one. What a shame that this song wasn’t a big hit then and isn’t a great Motown standard now!
Steve D. why are holding back points here?!? LOL. IMO this deserves a 10/10
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Landini said:
Wow Damecia a shout out for “How Glad I am” by Nancy Wilson. Great song! Did you know that it won a Grammy award for best R&B performance? Great song but I wouldn’t really call it R&B. A great soul style song from Miss Wilson is “Face It Girl It’s Over”. Wonderful song. Great album to hear is the Nancy Wilson/Cannonball Adderly album. Great jazz singing & great sax work from Mr. Adderly.
Love Kim Weston, but the best IMHO is to yet to come! Can’t wait!
Back to Nancy for a minute. Back in college (around 1979) I was in the car with some people & “How Glad I Am” came on the radio. One girl said something like “I hate this song!”. I curbed my tongue but felt like saying, “Girl, you don’t know what you’re talking about!” LOL!
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Damecia said:
Grandpa Landini I sooo agree with u about your generalization of “How Glad I Am”. I’m also glad you told that girl what you did because I would’ve probably done the same thing lol. I love this song it’s just so pleasant to my ears. Effortless defines Nancy Wilson’s vocal perfomance on that song. Like you, I wouldn’t conisder it R&B. IF anyone is looking for R&B in Wilson’s catalog I would suggest “Face It Girl, It’s Over” (as you mentioned) & “Street Runner”. I love both songs, epsecially “Face It Girl” the title alone gets me everytime & so does Wilson’s direct almost no pity taken vocal performance. Funny us Motown Junkies discussing a non Motown artist. Say, this blog surprises me with some of the people who were signed to Motown for example Tony Martin & Barbara McNair, was Nancy Wilson ever signed to Motown?
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Landini said:
Hi! To to the best of my knowledge Nancy was never signed to Motown. I’m not sure sure Motown would have known what to do with her. Capitol Records seemed to do a good job of promoting her – She didn’t have big single sales but her albums seemed to sell & she always had a loyal fan base. I remember see her on TV a lot in the 60s/70s.
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144man said:
The nearest thing I can find to connect Nancy Wilson to Motown is that she recorded a cover of Charlene’s “I’ve Never Been to Me”.
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Landini said:
I actually heard Miss Wilson’s version of said song before Charlene’s. No matter who sings it, the lyrics are still cringeworthy, but Miss Wilson did a good job vocally on it. By they way, forgive Damecia & myself! We sometimes get waaaaaaaaaaaaay off topic here. LOL! Have a great day my friend!
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Damecia said:
Lol yes Landini & myself always get waaaaay off topic here, but I think the said can be said about me and 144man too lol.
I never heard of “I’ve Never Been To Me”. I must listen to both versions and tell you guys what I think = )
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Landini said:
D, I gotta warn ya. The song “Never Been to Me” (the Charlene version) makes it onto many a bad song list. I believe Ron Miller (who Nix mentioned in the recent Marvin Gaye post) had a hand in writing the song. Apparently the The Temptations did a “male version” of the song on one of their early 80s albums.
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Damecia said:
LMAO! What!?! I most definitely have to hear all 3 versions now.
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144man said:
Staying firmly off topic, Charlene’s version got to Number One in the UK. How we Motown fans squirmed!
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Landini said:
Not so off topic as you probably know. Charlene’s version was on the MOTOWN label sports fans. Apparently, it was recorded in 1977 & went nowhere. In 1982 some DJ dug out a copy & started playing it & voila – a hit! I actually read an interview with Charlene in a Christian magazine in 1982. Apparently, she had become a born again Christian between the 2 versions & was hoping that the second time around it would be a cautionary tale for young women. It is too bad Charlene had to be a one hit wonder. In the article she sounded like a very nice person. Apparently, she had been through some hard times herself (not quite like the lyrics of ths song though) I think she actually did a duet with Stevie Wonder during her tenure at Motown. Would be curious to hear it.
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Damecia said:
LMAO! So I’ve heard all 3 and Nancy’s is by far the superior. Charlene’s is the worst IMO.
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Robb Klein said:
Had Motown signed Nancy Wilson, it would have resulted in the same situation as occurred with Barbara McNair and Billy Eckstine. They’d have recorded mediocre material, and had no sales. Motown had no good connection with the MOR or Jazz vocal markets.
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Dave L said:
Okay, if it was withdrawn then I don’t feel so bad only having it on Greatest Hits and Rare Classics, but I knew that one had gotten out that I didn’t have between “Looking For The Right Guy” and “I’m Still Loving You.”
Just for shits and giggles I looked this one up on eBay back on Wednesday, and it can be yours or mine for a mere fifteen hundred U.S. dollars(!!):
http://littleurl.info/2j3
I wish I had it, like I wish I had one of those rare copies of Stevie’s “Pretty Little Angel,” but I don’t think I could sell that much of my blood and remain upright.
But equally eye popping is the respective $90 and $150 asking prices for two different copies of “A Thrill A Moment.” Thank God I got a leftover unplayed copy of it in ’77 for only two or three dollars. Certainly it has to make Kim feel good to know her records, which never really had the company’s full promotion machine behind them, go so prized today.
Let me think… what’s coming up? “Wild One,” and a pair of ‘jerk’ records both with more interesting flipsides, the ascendency of David Ruffin to an R&B god four days before Christmas, and if I’m not mistaken, the Velvelettes pretty much close out this year.
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The Nixon Administration said:
What’s coming up? There are 13 more singles for 1964, 27 reviews including tomorrow’s B-side. Some real clunkers – and two 10s still to be awarded. Stay tuned, boys and girls.
In other news, I’m now a regular presenter on Radio Cardiff’s “Soulful Saturday Breakfast” show. You can listen to past shows as follows… firstly, last week I helped out with their (slightly shambolic!) A-Z of Northern Soul feature:
…and then yesterday was my first day co-presenting the whole show. Quite a few Motown spins in there (including 4 from Martha and the Vandellas, Artist of the Week in honour of Miss Reeves’ birthday), plus lots of between-songs nerdy trivia waffle from yours truly. Also a whole host of technical problems. Yeah, I’m selling it well. Reaction was really good though! :-
http://soundcloud.com/soulfulsaturdaybreakfast/soulful-saturday-breakfast-on
(that’s pretty much the entire 2-hour show – it’ll be up for 7 days, but I’ll edit some shorter highlights together for after that.)
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gregory said:
congratulations on your radio presentation and shows!! The ones I have heard from you are 1st class all the way!!!!, It is too bad that I’m stateside as far as you can get but I hope through the “NET” I will be able to hear some of your programs.!!!!! I enjoyed the sampling I heard before. Keep The Motown sound ALIVE!!! Good Show!! I Tip My Hat Off To You!!!!
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Mark V said:
It’s true that Motown started hitting big with groups around this time, but another thought might be that Gordy was wary of releasing too many singles for fear of losing radio play. If he were worried about too many Tamla releases on the market at once, it still boggles the mind that this one would be withdrawn! I rate this one a 9.
It’s a vivid embryonic example of the productions of Mickey Stevenson and Ivy Jo Hunter and proof of the many different styles, using the same musicians, singers, and arrangers, that would come out of Motown’s Studio A.
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Dave L said:
😦
Bob Babbitt now deceased too, so my yahoo mail tells me
http://tinyurl.com/cge7j8l
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gregory said:
If this is true, It really saddens me! he was a great pioneer!!! and his bass playing was 2nd to none!!! it just seems like yesterday when I last saw him!!! Its just a reminder of how people should be appreciated and acknowledged for their great contributions and thanked and also be encouraged etc. when they do it !! as well rather than Just at the end of their lives!!! Thankfully The movie about the Funk Brothers came out and brought to live many of the musicians in the public’s eyes And finally got recognition for the great songs and sounds they created!!!!! however it was a little too late for a number of them!!!!! R.I.P. Bob .We will miss you !!
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Nick in Pasadena said:
Can you imagine any other record company at the time shelving a record this good? I can see all the rationalizations you guys make–that Gordy decided to put his promotional muscle behind groups, that there were too many Tamla discs hitting the charts–but they don’t make much sense. If you don’t want a record to be a hit, why would you release it in the first place? Better to hold it in reserve for awhile, and let it out later or during a lull, a la “Jimmy Mack” (even though the circumstances of that disc’s release were very different).
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Damecia said:
I completely agree with you Nick! IMO this was just a song and artist Motown just didn’t care about.
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Robb Klein said:
Clearly, they FORGOT to release this later. I remember some rumour that this cut’s unusual tempo of background didn’t fit the vocal speed. So Berry decided it wouldn’t be liked by the listeners. So, he decided, at the last minute, to withdraw it. But he was at the meetings of Quality Control before it was scheduled. Unless, perhaps, this one was approved in one of the rare instances that he couldn’t make the meeting, and he heard it later, and then decided to recall it. This is one I should have asked Mickey Stevenson about.
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Randy Brown said:
An excellent record that is damaged, IMO, by the heavy treble and distortion in the mix (at least in the version included on “Complete Motown Singles). Was this ever released anywhere in stereo?
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Mark V said:
The stereo version is on the two-disc Kim Weston “Motown Anthology,” released in 2005 (and sounds much improved), and, according to the liner notes on the anthology, also appears on Kim’s “20th Century Masters–The Millennium Collection” (2003).
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Mickey The Twistin' Playboy said:
Love this track and vocal performance from Kim. I agree with 8/10.
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Landini said:
By the way, does anyone know why they switched Kim Weston between Gordy & Tamla? Just curious. Thanks! Have a great week friends!
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bogart4017 said:
@Nixad—-i’m a little confused about the narrative here. I don’t remember this record being pulled at all. In fact i purchased a copy of it on the Gordy (script) label but i think it was in 1965/6. I had never seen it on the Tamla (globes) label and was under the assuption she made the switch to Gordy with her previous release “Take Me In Your Arms”.
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Robb Klein said:
I’ve never heard of this song being pressed on Gordy, nor seen one, nor seen any reference to one at Motown or on any list. We would love to see a scan of your copy. Please send a scan of yours to “The Nixon Administration’s e-mail address” so he can upload it, and so Motown’s historians can have as complete information as is possible on Motown’s output.
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Robb Klein said:
Kim’s “A Thrill A Moment”/”I’ll Never See My Love Again” was issued as Gordy 7041, which should be her first Gordy release.
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Robb Klein said:
“A little More Love” was released in mid 1964, not 1966. It wasn’t re-released on Gordy, and “Take Me In Your Arms” wasn’t Kim’s first release on Gordy.
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Don't Mess With Will said:
This is the song that made me fall in love with Kim Weston ‘s voice, even more than “Take Me” or “Helpless.” It’s such a brilliant showcase for all the amazing things she can do. Equal parts soft and loud, smooth and rough, tender and sexy, and all so confident. Her warm, deep tone is unlike anything I’ve ever heard. And you gotta love those restless drums firmly anchoring the song in classic Motown territory, and the believable, gently funny lyrics (“you’ve got to like my friends – but think I’m the best of all!”). One of Motown’s greatest love songs. 10
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Don't Mess With Will said:
(Deep breath) Sooooo I think I’ve picked my top 50. At least for this moment. I still have so much discovering to do, but at this time, these are the motown singles that move me the most, that create little sound worlds I love visiting. It was certainly difficult picking them out. Many times songs which I thought were sure 10s got supplanted after I’d let them sit in the list for a few weeks. And there were some more recent discoveries that rose up to be contenders. Right before posting this I was hoping to find a place for “I Can’t Quit Your Love” by the Tops (which I first heard on a certain radio show!) but this list held firm.
Yes I’ve got a lot of obvious choices (and yes the Supremes and HDH dominate) but I think I’ve also got a few unexpected choices. They’re not listed in any particular order. Would be happy to hear your thoughts 🙂
Supremes:
where did our love go
stop! in the name of love
my world is empty
itching in my heart
can’t hurry love
keep me hanging on
reflections
love child
stoned love
Four Tops:
baby i need your loving
reach out
standing in the shadows
since you’ve been gone (yes a double 10!)
bernadette
Gladys Knight and the pips:
grapevine
didn’t you know
if I were your woman
Martha and the Vandellas:
heatwave
nowhere to run
never leave your baby’s side
Temptations:
my girl
get ready
i’m losing you
cloud nine
can’t get next to you
Marvelettes:
don’t mess with bill
keep off no trespassing
Miracles:
ooo baby baby
tracks of my tears
more love
Mary Wells:
my guy
Kim Weston:
a little more love
take me in your arms
helpless
Marvin Gaye:
baby don’t you do it
chained
grapevine
inner city blues
With Tammi: Ain’t no mountain
Brenda Holloway:
til johnny comes
just look what you’ve done
Velvelettes:
he was really saying something
Stevie Wonder:
i was made to love her
signed sealed delivered
sunshine of my life
you haven’t done nothin
as
Isley Brothers:
why when love is gone
Edwin Starr:
25 miles
Blinky:
I wouldn’t change the man he is
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nafalmat said:
TV viewers in Britain had an early live performance by Kim of this song on the TV programme ‘Ready Steady Go’ in December 1964. She was miming to the record on this performance which got a release on EMI’s Stateside label before the Tamla-Motown label was launched in the UK. I wonder if this was the first ever performance of Kim on TV anywhere in the world, as she hadn’t had any significant hits in the USA at that time. She immediately preceded The Beatles who performed several tracks from their then new album ‘Beatles for Sale’. When you look at the audience during Kim’s performance, they unfortunatley look pretty bored due to the anticipation of seeing The Beatles in the next few minutes, which is a shame as Kim’s performance was quite charming. I think this performance is on Youtube if anyone who hasn’t seen it is interested.
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Robb Klein said:
No, I don’t think this was Kim’s first TV appearance. I’m sure she sang “Another Train Coming”, “Don’t Compare Me With Her” and “Looking For The Right Guy” on local Detroit/Windsor TV, and also on TV in London, Hamilton and Toronto, on one US teen dance show, and one Canadian teen dance show. I don’t remember the 2 shows’ names, but remember having seen her on them years ago.
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nafalmat said:
Don’t compare me with her must have been later than December 64 as it wasn’t released until well into 65. As for the others, I’d love to see those performances. I wonder if they still exist? They would obviously be before anyone had a home video recorder. I’m pretty sure this was her first TV appearance in the UK as it must have been the first time she visited the UK. I noticed there is/was a rather odd video of her performing ‘When Johnny Comes Marching Home’ on Youtube. I wonder where this came from? She is wearing a mini-skirt so it must be after she left Motown because mini skirts didn’t become popular until 1967. Perhaps it’s from her MGM years or maybe even later.
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Robb Klein said:
I seem to remember that most of those Detroit performances of Kim’s were shown on “Swingin’ Time”, a Canadian TV channel CLKW, in Windsor, Ontario (for the Detroit/Windsor Metro Area), hosted by Detroit DJ, Robin Seymour. Yes, ‘When Johnny Comes Marching Home’ was recorded by Kim for MGM (on one of her LPs). The Canadian dance show was “Teen Town”. Many Motown acts appeared on both shows. I think that all those “Swingin’ Time” tapes still exist.
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nafalmat said:
There are a couple of interesting clips on Youtube of a Canadian Pop show called ‘Let’s Go’ both from the same Motown themed show from mid ’67. One features an interview of Stevie Wonder, the other with Martha & Vandellas. Martha is very eloquent , but the other two Vandellas seem lost for words. When asked who they meet on their tours of the UK, Rosalind states she thinks they meet one of the Beatles who might have been Paul McCartney. Seems amazing to me that anyone in their 20s who lived in The US in 1967 would not be sure which of The Beatles they had met. Betty is only asked one question which she also seems to answer very curtly. Makes you wonder if these two Vandellas ever attended Motown’s ‘charm school’! The interviewer, who’s is British, also asks one awkward question about the group being paid a salary rather than royalties, etc, which is quickly denied by Martha who states that she doesn’t understand where the rumour originated from. I wonder if it was true and the artists were too frightened to say the were being ‘ripped off’. The rest of the clips are made up of some pretty awful covers of Motown classics performed by what appear to be the show’s resident singers. None of them can sing well, but at least the girl singer Lynn Brooks is lovely to look at, but the blokes are bloody terrible!
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Robb Klein said:
The Vandellas probably met The Beatles in 1965, – 2 years before the interview. I lived in USA (Chicago) during 1964-67. I was also in my 20s in 1967. I only listened to R&B radio stations. The Beatles meant very little to me. I probably couldn’t have told you all 4 of their names in 1967. I always forgot George Harrison’s name. Being on camera is a bit intimidating, knowing thousands of people are watching. Had I met George Harrison or John Lennon 2 years before, I might have gotten flustered and not been able to answer, if I were on camera. But, I’d like to think I could have remembered. I still remember meeting Mary Wells, Brenda Holloway, Freddy Gorman, Robert Gordy, Mickey Stevenson, Mike McLean, Bo Diddley, B.B. King, Mel Carter, Bunky Sheppard, and all the other recording industry celebrities I’ve met. It DOES seem a bit strange. But, maybe Rosalind had an unconscious negative opinion of all the fuss that the masses of fans made over The Beatles, similar to my feelings about the fuss people made over Frank Sinatra and Elvis Presley, along with The Beatles (whose singing I didn’t like – although I admit that Lennon and McCartney were good song writers).
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nafalmat said:
Very interesting to hear that you were not that ‘familiar’ with The Beatles. It seems amazing to me, as they appeared to be even ‘bigger’ in the USA than in the UK between early 1964 through to Lennon’s unfortunate comments about the popularity of The Beatles vs Jesus in 1966, that apparently a lot of Americans were not that interested in them. I agree that that they were ceratinly not the greatest group vocally, there were plenty better in both the soul/R&B field and straight pop acts, but the composing of Lennon/McCartney is up there with the very best and George Martin’s productions are up there with the best as well.
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