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Tamla T 54106 (B), November 1964
B-side of A Little More Love
(Written by Mickey Stevenson and Ivy Jo Hunter)
Stateside SS 359 (B), November 1964
B-side of A Little More Love
(Released in the UK under license through EMI/Stateside Records)
Tamla T 54110 (B), January 1965
B-side of I’m Still Loving You
(Reissued as B-side to new single)
Tamla Motown TMG 511 (B), April 1965
B-side of I’m Still Loving You
(Reissued as B-side to new single)
Like the original A-side, A Little More Love, this is another slow-burning adagio, featuring another huge lead vocal performance from Miss Weston. Unlike that A-side, this one did at least get resurrected (in a slightly different mix) for a later re-release as the flip of Kim’s next single, I’m Still Loving You.
It probably sounds simplistic to say that the main difference between this and A Little More Love is that Go Ahead And Laugh is sad rather than happy, but that’s really the size of it.
(Poor choice of words – I don’t mean the size of this song, which is roughly as big as Winchester Cathedral on fire, but then A Little More Love was pretty enormous too, all things considered.) No, the main difference is tone. Sure, it’s a rather less structured affair, drawing much more from jazz than pop or R&B, giving Kim the opportunity to cut loose and swing for the fences, but this is a song of pain rather than love and redemption. I’m of the opinion Kim always sounded better with a smile on her face, or at least a scornful smirk, but luckily for Motown and for all of us, she could do pain just as well, thank you very much.
This is the equal of its first A-side in all respects; maudlin and self-pitying though it may be, there’s nothing wrong with a good old wallow now and again, and as far as drownings of sorrows go, this one’s magnificent.
There’s so much to love about this that it’d work even if Kim wasn’t on the record; the plinky-plonky Vaudeville piano interlude, the Andantes’ downright spooky harmonies, a weird offbeat drum cadence rippling through the quiet moments, horn breaks that sound like they’ve wandered in from a jazz funeral. But when Kim arrives, all of that becomes decoration. Her vocal isn’t the icing on the cake; her vocal is the cake.
What the hell am I talking about? Let me try and explain.
Back in 1961, a gospel group called the Wright Specials, who’d evolved from a church gospel choir, arrived at Motown to cut a few gospel sides. Teenage swim team prodigy Agatha Weston, later known as Kim, was part of the group, but ironically wasn’t involved in these recording sessions. Instead, the rest of the line-up – identified by Kim herself here on Motown Junkies as Delores Hall, Carrie Jones, Betty Knox and Effie Ellington – laid down a bunch of gospel tracks, resulting in two singles for Motown’s short-lived Divinity Records offshoot. One of those Wright Specials sides, Pilgrim Of Sorrow, remains some of the biggest and best vocal work I’ve ever heard, regardless of genre, as first Betty Knox and then Delores Hall take turns perforating the listener’s eardrums with some staggering performances. Kim wasn’t on those tracks, but if those are the ladies she learned to sing with, whose voices she had to match to be heard, it explains a lot.
Kim Weston was Motown’s best singer, certainly at this point in history. Go Ahead And Laugh is her best vocal to date, a performance of breathtaking virtuosity, alternating admirable taste and restraint with no-holds-barred eruptions of emotion, carrying this song and bringing it home. Warnings are given at the one-minute mark (If you only cared… if you only SPARED a little time and tenderness, you’d never miss it), but the record builds and builds in intensity, culminating in a quite remarkable section at two minutes, when Kim delivers a coup de grace with a minute still to go, changing key mid-word as she delivers the title phrase, dripping in vitriol. Damn, she was good.
Underneath all the fireworks, there’s the nagging doubt that this song is more of a sketch, that it needs a really gifted singer to complete it, to make it work (the only other Motown act to even attempt it were Martha and the Vandellas, which says a lot); but the central hook is surprisingly good, and anyway most of the best vocal pieces rely on their singer to bring the best out of them. No, this is fine work, and if it’s too slow-paced and melodramatic for radio, it’s still probably the best thing Kim Weston had yet recorded for Motown. That she even had room to improve at all is a credit to her, rather than a mark against this record.
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.)
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| Kim Weston “A Little More Love” |
Martha & the Vandellas “Wild One” |
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This track is the natural successor to “Just Loving You”.
The light and shade in Kim’s vocals is remarkable, and even after all these years it still sends a shiver down my spine. 9/10.
For anyone who particularly likes this track, “You Just Don’t Know” from Kim’s Volt LP “Kim Kim Kim” is recommended.
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Hi 144man,
I listened to “You Just Don’t Know” and the only thing I can say is WOW! The woman was a powerhouse! She was the TRUTH and I felt it on “You Just Don’t Know.”
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I also checked out “Nobody” and it’s a superb track as well.
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Amen. And there are still such good things to come from Kim. Kim, like all her labelmates, is now moving into the period where we then-young record buyers knew to sample both sides of everything on Motown, Tamla, Gordy & Soul. In addition to their A-sides, here come “I’ll Never See My Love Again,” “Don’t Compare Me With Her,” “A Love Like Yours,” and even, with Marvin, “It’s Gotta Be A Miracle.”
The age of unalloyed Motown joy is here. 🙂
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Wow and I thought “A Little More Love” was great song! This even greater. The Andantes are simply remarkable here. If Kim is the cake then the Andantes are the icing. “A Little More Love” and “Go Ahead and Laugh” should’ve been a double sided hit!
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Steve!, Hummm! this was a great B side!!, But The picture does not match the “A” side!! this pic. seems to be from a up and Coming single in 1965 on Tamla T54110 “I’m Still Loving You” Where it was also had the same “B” side except the running time was a little different, instead of this release in 1964 “B” side of “A Little More Love” which should be T 54106 and not T54110! Go Ahead And Laugh was the “B” side on both records however I haven’t compared the to to see if it was 2 different mixes or not , I did notice that the running times are a little different but beside this technical glitch, In your review you do mention the 2 different mixes of this song!! I Hope you will review that particular 1965 mix as well when it comes!! as it may be different in some ways!! This was Kim at her best as she was defiantly an excitingly vocalist to be reckoned with for sure!! This song ‘ I never seem to get tired of it . I think that this should of been the A side.. I would also agree with your rating as well as your assessment of the song in your Great as usual review!!! Being all fair and honest I would also give it a “8” as well!!!!
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Not a glitch (try hovering your mouse over any image on the site for bonus information!) – alternate mixes don’t get separate reviews, only new recordings, so this page will have to cover both 54106 and 54110. I don’t have an image for 54106B anyway!
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Gregory, the second mix has slightly different echo and muddier sound, but otherwise is identical to the first.
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Just an odd trivia question: up till now, how often have you given identical ratings to both sides of a single? Given how often there is a disparity between the quality of the two songs on a release… and I’m remembering quite a few ones that have a gem followed by a dud… I’d guess not very often. (Maybe you haven’t tracked this much, no need to go to a lot of work for this odd question!)
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I haven’t tracked as such, but you’ve intrigued me! You can check for yourself via the Master Index:
https://motownjunkies.co.uk/index/
There’s been one occasion where both sides of the same single have scored a maximum 10 out of 10 (Mary Wells’ My Guy b/w Oh Little Boy), and there’s one more of those still to come.
Otherwise, it’s actually happened quite often! I’ll compile a full list when I have time.
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Here we go.
PAIR OF TENS (THE HOLY GRAIL)
Mary Wells, My Guy b/w Oh Little Boy
PAIR OF NINES
Nobody has managed this yet.
PAIR OF EIGHTS (CONSISTENT EXCELLENCE)
The Swinging Tigers, Snake Walk Part 1 b/w Snake Walk Part 2
The Supremes, Come See About Me b/w Always In My Heart
Kim Weston, A Little More Love b/w Go Ahead And Laugh
PAIR OF SEVENS
The Miracles, Broken Hearted b/w Mighty Good Lovin’
The Satintones, I Know How It Feels b/w My Kind Of Love
Linda Griner, Goodbye Cruel Love b/w Envious
The Velvelettes, There He Goes b/w That’s The Reason Why
Eddie Holland, I’m On The Outside Looking In b/w I Couldn’t Cry If I Wanted To
PAIR OF SIXES
Mary Wells, Bye Bye Baby b/w Please Forgive Me
Sherri Taylor & Singin’ Sammy Ward, Oh Lover b/w That’s Why I Love You So Much
The Twistin’ Kings, Congo Part 1 b/w Congo Part 2
Hattie Littles, Back In My Arms b/w Is It True What They Say About You
The Vells, You’ll Never Cherish A Love So True b/w There He Is (At My Door)
Kim Weston, It Should Have Been Me b/w Love Me All The Way
LaBrenda Ben, Just Be Yourself b/w I Can’t Help It, I Gotta Dance
The Miracles, The Christmas Song b/w Christmas Everyday
PAIR OF FIVES (REASSURINGLY AVERAGE)
Eddie Holland, Merry Go Round b/w It Moves Me
Saundra Mallett & the Vandellas, Camel Walk b/w It’s Gonna Be Hard Times
The Gospel Stars, Give God A Chance b/w Have You Any Time For Jesus
Bobby Breen, You’re Just Like You b/w Here Comes That Heartache
Bruce Channel, You Make Me Happy b/w You Never Looked Better
PAIR OF FOURS
The Miracles, Ain’t It Baby b/w The Only One I Love
Eddie Holland, (If) Cleopatra Took A Chance b/w What About Me
Connie Van Dyke, Oh Freddy b/w It Hurt Me Too
Joanne & the Triangles, After The Showers Come Flowers b/w Don’t Be A Cry Baby
Dorsey Burnette, Jimmy Brown b/w Everybody’s Angel
PAIR OF THREES (BACK TO THE DRAWING BOARD)
Barrett Strong, Money And Me b/w You Got What It Takes
Popcorn & the Mohawks, Have I The Right b/w Real Good Lovin’
The excellently-named Henry Lumpkin, Mo Jo Hanna b/w Break Down And Sing
The Supremes, My Heart Can’t Take It No More b/w You Bring Back Memories
Holland-Dozier, What Goes Up Must Come Down b/w Come On Home
PAIR OF TWOS
The Satintones, Tomorrow and Always b/w A Love That Can Never Be
SNAKE EYES (a.k.a. BLOODY HELL, THIS IS TERRIBLE)
Mickey Woods, Poor Sam Jones b/w They Rode Through The Valley
Joel Sebastian, Angel In Blue b/w Blue Cinderella
Bob Kayli, Hold On Pearl b/w Toodle Loo
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So cool!
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This is the one that tops “Just Loving You”. Haunting. Hypnotic. Spellbinding. There arent enough superlatives for it. If “Every Little Bit Hurts” begat an Lp, this song DEMANDS it.
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Your unqualified and only partially supported statement that “Kim Weston was Motown’s best singer” had the wonderfully beneficial effect of making me listen much more deeply to the vocals on both sides of this record than I would have otherwise, and I can’t say I disagree with your conclusion, but I’d really like to read an essay (and comments from others) detailing how you make you case – the various vocal qualities that lead you to this conclusion. Just to start start the discussion, I’d consider dividing these qualities into three categories (you might well come up with better ones) – the voice itself (range and resonance), technical execution and control (intonation, rhythmic and timbral control) and the sum of all the intangible elements such as lyric delivery as measured by “acting” standards and the iconic stamp or “personality” of the overall voice in terms of being instantly recognizable, utterly unique and emotionally compelling. In this last category – at least so far – the mature Diana Ross and all of Smokey Robinson really stand out to me (and the much later Stevie Wonder of course). In the first two categories, it seems like Kim Weston’s biggest competition comes from Brenda Holloway and Levi Stubbs (that modulatory passage on Without Your Love notwithstanding), (also Marvin Gaye and Stevie Wonder … actually Motown had quite a few with nearly perfect execution – Eddie Holland seems like a good example of someone who excels in categories 1 & 2 much more that he does in category 3), but I’d love to hear everyone’s opinions and further thoughts on this topic.
The same question, of course, could be taken up as it applies to backup vocal units.
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