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Mel-o-dy 118 (A), November 1964
b/w Long Long Time Ago
(Written by Dorsey Burnette and Joe Osborn)
The writing was on the wall for Mel-o-dy Records, Motown’s short-lived first foray into the alien world of country music. While Motown’s R&B and pop records were flying off the shelves in ever greater numbers, this was the first Mel-o-dy single in three months, and it was a rush release job, unceremoniously shoved out into the marketplace without much fanfare or love.
Dorsey Burnette had had other things on his mind; his beloved younger brother Johnny Burnette (himself a rockabilly star in his own right) had been killed in a boating accident in August, and the lead vocal here dates from Dorsey’s first recording session since the tragedy. Entirely understandably, the avuncular joie de vivre which has marked out so many of Dorsey’s better Motown cuts to date is missing from Ever Since The World Began – which is a shame, because it’s a weak song crying out for a sympathetic narrator. Dorsey’s heart just isn’t in this, and it shows.
It’s a mechanical, perfunctory run-through of a chugging pop-country number, which needs energy and humour to work, the two commodities Dorsey was obviously not in a position to provide. The pedal steel guitar on this is a nice addition, and there are some briefly thrilling moments when Dorsey cuts free from his bonds and soars (That’s the way life GOES!), and it’s full of joy. Otherwise, this is a repetitive and tiresome plod.
Where it mainly falls flat is the lyrics. This is a generic, sexist, rambling rant – women, eh? Sheesh! What can you do? It’s been like that from day one! – and written down in the cold light of day, it comes over as horribly unsympathetic to its bitter, rejected narrator. For it to have any hope of working at all, it needs to be done with a self-deprecating smile, a recognition that the narrator knows he’s being silly and expects us to go along with it too, a playful rebuke to a woman who he knows may be listening. It needs Shorty Long, or at least an on-form Dorsey Burnette.
Instead, Dorsey settles for making it to the end of the song in the quickest time possible, bouncing off each line with his feet barely touching the ground, leaving so little impression that his voice has to be bolstered in the verses (either through another singer or through double-tracking, I can’t tell).
Not awful, but certainly not one to savour; if, given the circumstances, it’s understandably forgettable, it’s also advisedly forgettable.
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.
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Dorsey Burnette “Long Long Time Ago” |
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Out of curiosity I went Dorsey window shopping eBay just now, and if he wasn’t with Motown long, it wasn’t out of character. Singles also on Imperial, Reprise, Capitol, Dot, Liberty, Hickory, Smash … apparently Dorsey never got dust on his shoes at any label.
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You listed all the important labels EXCEPT “Era” the main label known for his work, as his only big hit, “Tall Oak Tree” was released on it.
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HE also released two singles on the ABBOTT label in 1957. The Reprise stuff is worth seeking out –you had to be good to record for Frank Sinatra. The Smash record was his next label after MELODY and it sucks–Dorsey finally had to succomb to the ‘Gnashville” sound by the time he finally resumed recording in 1966. The Most memoriable Dorsey recording was to me not a song but a commercial for CRUEX, an ointment used in the treatment of ‘Jock Itch” !!!
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Jock itch aside (eww), actually, Dorsey’s next label after Mel-o-dy was VIP – he was the ONLY Mel-o-dy artiste to be given a (scheduled) Motown release after the country label had folded, although it doesn’t appear to have actually been manufactured.
He wasn’t finished with Motown, either, coming back in the Seventies as part of the new Melodyland/Hitsville C&W subsidiary.
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Hi Mr. Nix & my Motown friends, I made some recent comments elsewhere but wanted to take this opportunity to say Hi & apologize for being gone for so long. I am currently in the midst of some health issues (taking some chemo for a recurrent cancer) but am hanging in there pretty well. May not make it onto the site as much as I used to but will drop by as I can. I know we have some great songs ahead of us. Yeah, poor Dorsey – he went through some hard times. I know he really loved his brother Johnny. Sad situation.
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{{Group hug}}, Landini. We wish you a robust recovery.
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I second that wish!
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Welcome back, Landini, and very best wishes for your recovery. I’ll give you a get well soon “shout out” on the radio show!
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Thank you very much Dave, Robb & Nix. You all are very kind!
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Best wishes from me as well.
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Thanks pardner! Bless you!
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Incidentally, does anyone have a scan of the B-side (stock or promo) you’d like to contribute? Please get in touch!
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Hey Gang,
I have noticed an Osborne (not Ozzy!) who shows up as a frequent collaborator on Dorsey’s singles with Motown. I did some research & think this might be Joe Osborne bassist extradonaire with the Wrecking Crew who played on many hit records in the mid-late 60s. It might make sense. In Mr. Osborne’s bio they say that he worked with Ricky Nelson who, of course, had connections with the Burnette Bros. Also, when I research the songwriting credits w/Dorsey they do list Joe Osborne (including some Ricky Nelson songs) as the co-writer. Could this be the same guy? Just thought it was an interesting connection. Would love any feedback on this. Any thoughts, Robb? or anyone? Thanks!
Another footnote on Dorsey — A few years ago, NPR (National Public Radio) interviewd Paul Burlison (who has since passed on) who played with Dorsey & Johnny in their early days. It was a great interview. Mr. Burlison apparently left music to have a “real career” to provide for his family. He sounded like a very sincere & humble person. As you probably know, the Burnette Bros & Paul Burlison were Golden Glove boxers & that is how they originally met.
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Yes, I believe that the J. Osborne was Wrecking Crew member, Joe Osborne. Dorsey worked out of L.A., and was involved in production with The Alpert brothers, and worked for Lou Adler and Lew Bedell, and was involved in the Pop scene there. This cut is okay, but not nearly as good as “Everybody’s Angel”.
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I’m sooo far behind on posts! This is my first time hearing Mr. Dorsey. So tragic what happened to his brother.
Regardless, of the sexist lyrics & double track (I actually think it helps the track) this is a good country pop record. It’s catchy & has a nice melody. IMO this record is at least 7/10.
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I recently downloaded the songs from “Dorsey Burnette – The Complete Motown recordings – 1964-65”, and in the context of that, this track works very well indeed.
It’s rather good, and Damecia’s rating of 7/10 seems about right to me.
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