Tags
Gordy G 7038 (B), December 1964
B-side of My Girl
(Written by Edward Holland Jr. and Norman Whitfield)
Stateside SS 378 (B), January 1965
B-side of My Girl
(Released in the UK under license through Stateside Records)
Of course this can’t be on a par with the A-side. Of course it can’t. That would be crazy. But even when you’ve pre-emptively lowered your expectations (even if, way down at the back of your mind, you might secretly be hoping for another out-of-nowhere masterpiece like Oh Little Boy), well, this one still somehow manages to be something of a disappointment.
Oh, don’t get me wrong, it’s not terrible or anything. In fact, it’s quite a nice little record – it’s a throwback to the slightly weird, slightly alien sound of the Temptations’ pre-fame Motown non-hits, a sound I referred to as “space age doo-wop” in past reviews, and that happens to be a sound I rather like. It’s just that the Tempts have come down from a whole different plane to bring it to us; after the heavenly delights of the A-side, the flip brings them back down to our level, and I can’t help but shrug.
If this seems rather dated compared to the timeless quality of the A-side, it’s because it was; (Talking ‘Bout) Nobody But My Baby was cut back at the beginning of 1963 before being left to rot on the shelves, and it was almost two years old when Motown dusted it off to back up My Girl.
Quite why they did that isn’t clear – they had an upcoming new LP, The Temptations Sing Smokey, to plug, but this track didn’t make the lineup (and indeed never featured on any Temptations album). Smokey Robinson had already had his own crack at it, the Miracles’ version (sung over the same backing track) ending up similarly unused. Perhaps it was the similar lyrical subject matter that led Motown to pair their astonishing new surefire hit with a two-year-old rejected outtake; imagine My Girl without any of the dancing wordplay and just-so imagery, and you might end up with something like this.
It meant the Temptations’ biggest hit record – carried along by a star turn from lead singer David Ruffin – featured a B-side which predates Ruffin even joining the group by a full year, perhaps a last hurrah for (the long since fired) Elbridge “Al” Bryant and that space age doo-wop sound, finding its way by stealth into a million American homes. But what’s it actually like?
Long-time readers of this blog will know of my theory that the Temptations, superb singers and dancers all, were never quite “right” on vinyl until Smokey Robinson took the group in hand. In their prehistoric years, the years Before Smokey, they racked up several good records and several bad records, and the difference lay only in how the group’s two recognised lead singers in the pre-Ruffin days, Eddie Kendricks and Paul Williams, were used. As I expounded when talking about I Want A Love I Can See (one of the good ones), if Paul was “hemmed in” and nominal lead Eddie was left untethered to roam around at will, the results could be shaky, even disastrous. And that’s what happens here; it’s not dreadful, but nor is it much fun to meet Eddie’s uncontrollable shrieky lead falsetto again, his most irritating vocal habit thrust into the spotlight long after he’d actually stopped doing it.
If you can overlook that, there’s plenty to enjoy on this flip. The chorus, as on so many of the Tempts’ early period records, is spine-chilling; this one’s very reminiscent of their remarkable work on I’ll Love You Til I Die, the unearthly combination of Blue and Al and Otis’ harmonies married to an unexpected progression that demands notice. There’s a great horn break in the middle which is equally riveting, presaging the time when Motown would routinely throw those into the mix in their huge pop hits. And I’m quite fond of the way Eddie and the boys vocally phrase their lines, leaving big gaps, enunciating each syllable in some words, skipping over others entirely. “She’s got the world’s sweetest (HUGE PAUSE) per-so-nal-i-ty” brings a smile every time.
But there’s no getting away from the fact it’s a relic, an artefact from an already distant past (shades of the similar archaeology employed by the Supremes, the equally aged He Means The World To Me backing mega-hit Where Did Our Love Go). Plus, nice though it is, who on earth was flipping this single over in the first place?
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 The Temptations? Click for more.)
The Temptations “My Girl” |
Choker Campbell’s Big Band “Come See About Me” |
DISCOVERING MOTOWN |
---|
Like the blog? Listen to our radio show! |
Motown Junkies presents the finest Motown cuts, big hits and hard to find classics. Listen to all past episodes here. |
Dave L said:
Yes, like “That Day When She Needed Me,” “Tie A String Around Your Finger” and “Baby Don’t You Go,” this one went right down the Motown rabbit hole after the original single stopped being pressed. It doesn’t pop up again till “Emperors of Soul” in the mid-90s.
Not a bad record at all, but to be any way memorable, both sides of this 45 probably needed Smokey Robinson’s hand. Going forward though, the next six Temptations b-sides are all (at least) minor gems in their own right. We all know them: “What Love Has Joined Together,” “You’ve Got To Earn It,” “Don’t Look Back,” “Fading Away,” “You’ll Lose A Precious Love,” and “You’re Not An Ordinary Girl.”
LikeLike
144man said:
This might be a relic from the past, but it won’t be long before the collaboration of Norman Whitfield and Eddie Holland come up with some classic tracks.
LikeLike
Landini said:
Hi Nix, Very spot on review of this song. It is as you say a “nice little record” but cannot be compared at all to its A side. I wonder if Motown purposely put an “older sounding song” on the B side to make sure that DJ’s didn’t flip this one. I mean it is hard to imagining anyone flipping this single but I am sure Motown was still taking that possibility into consideration. Of course, Phil Spector used to put instrumentals on the B sides of his singles to make sure they never got flipped!
LikeLike
Damecia said:
Oh wow great point Landini! I never experienced by records, so I was unfamilar with the b side & its purpose all together. I also couldnt fathom why some b side would be much older & at time much terrible than the a side. It’s all making sense now : )
LikeLike
Mary Plant said:
So weird to watch the youtube video of a different Temptations lineup lip-synching a different song while this one plays. The caption says Papa Was a Rolling Stone (??). I don’t remember ever hearing this before, but I quite like it – maybe as much as a 7, but once again, a great review!
LikeLike
Damecia said:
“Space age doo wop” Nice phrase Steve D! Lol. Just like Steve D. I also like the phrasing on this record & the long pauses.
It is unfair to compare this to My Girl seeing that it is two years older, yet I feel of it were released in 63 it still wouldn’t have amounted to much. Nice album cut, but choice for a single.
LikeLike
Randy Brown said:
Cute video of the Miracles’ version:
This song is far more suited to Smokey and his vamping over a mid-tempo beat. Could this have been a possible sequel to “You’ve Really Got a Hold On Me”?
LikeLike
Randy Brown said:
Although the other Miracles are off the mark, especially Claudette. No wonder Gordy crap-canned it…
LikeLike
Rupert Kinnard said:
I still prefer the Tempts version over The Miracles…but i LOVED the cleverness of your video Randy Brown! That rocked!
LikeLike
Rupert Kinnard said:
“Who on earth was flipping this single over in the first place?” You blaspheme! Every true Motown fan of this era were quick to turn every single 45 over to see what joys were hidden there and this record was no exception! I was so thrilled when all of the B-sides that never made it to a Tempts album finally appeared on the 30th Anniversary collection! This was yet another example of Eddie’s cute southern phrasing out sweetening Smokey on one of Smokey’s own songs.
LikeLike
bogart4017 said:
Agreed! We all turned those records over. I had a feeling that this was an older track when it was released because Motown 1963 so just like that—Motown 1963. Don’t ask me to explain–except that some Motown 1966 or 1967 sounds like it could be 1965 or 1964 depending on certain flavors. Ok–i’ll try again. The “Golden Era” of Motwn has a timeless quality to it—you can still enjoy it years and years later. Motown prior to 1962 is like those old cars from the 1940’s—too much chrome and you date yourself. THe Motown Sound 1970 and going forward….well you know, you use the wah-wah pedal and you’ve really dated yourself.
LikeLike
Jean Ramirez said:
Most of The Tempts early stuff was great, including this track, in fact, I think it’s better than the A side, My Girl. My Girl is incredibly overrated, now dont get me wrong, but it’s not on par with some of their other song. Maybe it’s jist me but I love every single song that has Paul on lead, and a lot of those got little recognition.
Anyways, this song, in my opinion is the epitome of modern R&B, and is actually one of my favorites by Eddie.
LikeLike
Landini said:
Hi Jean,
Be careful about criticising “My Girl”. I did that & almost got in trouble here. Just kidding! I am bit with you on “My Girl”. It is an excellent song, but I find myself liking other Temptations’ songs better. I think the problem is that most people on the street only think of “My Girl” when they think of Motown or soul or the Temptations & forget that there are many other good songs out there! Also “My Girl” has been played to death on the radio!
Anyway, welcome! And feel free to keep sharing your thoughts! The people here are very nice!
LikeLike
bogart4017 said:
In answer to your question—-it was ME on earth that flipped that record over. Temps usually has great b-sides. Them and the Marvelettes.
LikeLike
Landini said:
Oh Yeah! Motown had killer b-sides!
LikeLike
bogart4017 said:
yup! Fli[ over “You really Got a Hold On Me” and dig “Happy Landing”
Flip “Since I Lost My Baby” and enjoy “You’ve Got To Earn It”
Flip “Every Little Bit Hurts” and give a listen to “Land Of a Thousand Boys”
The list goes on and on.
LikeLike