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Motown M 1072 (A), December 1964
b/w Pride And Joy
(Written by Brian Holland, Lamont Dozier and Edward Holland Jr.)
Everyone knows that Motown’s house musicians didn’t receive their rightful share of the fame and glory for creating so many big hits until it was much too late, but that – thanks to the film Standing In The Shadows Of Motown – at least their story finally got told, ready for future generations to speak of them in hushed tones. Van Dyke. Jamerson. Benjamin. Willis. The immortal Funk Brothers. Truly, these were the men who built Motown. Everyone knows that.
It would have been good to know Walter “Choker” Campbell’s thoughts on all of this, had he lived to see it. Choker rarely got into the studio, you won’t find his name listed on many classic hits or even mentioned in the same breath as those in the paragraph above, and yet he played an instrumental part (no pun intended) in the rise of Motown from local curio to national phenomenon.
For Choker Campbell was the leader of Motown’s live band, the saxophonist and conductor who kept any number of Motortown Revue shows driving along. An accomplished sax player, a respected leader of men, and later a talented producer – not to mention a notorious rake – Choker cut singles before and after he was signed to Motown, but his time with the label was mostly spent out on the road.
To keep him happy, in 1964 Berry Gordy granted Choker a record release, an album of his live arrangements of Motown hits adapted into peppy big band instrumentals. Not all the tracks on the album feature the same members of the live band (or indeed any of the live band at all), but the unifying presence and the name above the marquee is Choker, and he took his opportunity with both hands.
A single was required to promote the album, and so it came to pass that Come See About Me – lifted straight from the LP – became Choker’s one and only US Motown single. (Although in Britain, the new Tamla Motown label opted to pick a different album cut as the chosen 45 – but that’s a story for another day here on Motown Junkies).
Even though (most of) the individual musicians in play here aren’t as dynamic as the Funk Brothers, or as inventive, or as thrilling, there’s an argument to say that Choker’s Hits Of The Sixties LP (left) actually stands up better than the equivalent Earl Van Dyke/Funk Brothers effort, That Motown Sound!, issued around the same time in a near-identical jacket. Both are laden with instrumental remakes of Motown songs made famous by other people, and you wouldn’t necessarily want to take either of them with you to your desert island over the originals, but while the Funk Brothers versions are often somewhat pointless overdubs of the original tracks with Hammond organ instead of lead vocals, Choker’s arrangements are tailored more to the strengths of the stage band, rather than the hotshot, frustrated jazz musicians of the studio group.
So, what we get are several Motown hits redone from scratch in big band style, with all the discipline and professionalism you’d expect from, well, a disciplined and professional stage band who wanted to keep getting work (whether that was Motortown Revue gigs, or just backing whoever was playing the municipal auditorium next week). Individual creativity is subsumed, the arrangement is king by consent, but there’s a certain creativity in the making of that arrangement, an impish spark in the chop-shop conversion of a baroque Supremes #1 smash hit into a rollicking big band rollout. Which brings us back to Come See About Me.
I don’t know who this record is aimed at, to be honest. All of the best things about the Supremes’ original are missing here – or, rather, they’re not exactly missing, but they’ve somehow gotten lost in translation, coming out in a mangled fashion somewhere between driving R&B and early-evening easy listening hell.
Essentially, this is a version of Come See About Me that sounds like a house band “sting” at an awards show as Diana Ross gets up to collect some prize or other. Everyone’s having fun, and it sounds well enough, but it’s done without any understanding of the crushing lyrics, or indeed any hint that there ever were any lyrics at all; instead, it’s a fast-driving, light-hearted blast through the tune, hitting many of the signposts but rather missing the point. It almost feels faintly disrespectful to reach the bit where Diana should be singing My life’s so uncertain / Since you’re not around, and instead be met with the horn section leaning into shot with a goofy grin and blaring out some novelty trills. Perhaps writers Holland and Dozier, who produced both the original and this remake, were just happy to finally blow off some steam.
So the only way to really appreciate this is to forget the Supremes ever did this song at all, and pretend this is the only version that exists. It’s difficult, but once that’s done, taken on its own merits…?
It’s okay, is the answer. It’s okay. It’s kind of fun. It sounds good, in that these are proficient musicians having a good time, and Come See About Me is a really good tune. But it’s not great. It’s almost as though the impulse to make something that only lasts for the moment, a piece of transitive, throwaway good-time fluff, has convinced the band that that’s all this can ever be, and so while it’s big and loud, it’s also paradoxically lighter and cheesier than the original. (Damn, I almost made it a whole paragraph without mentioning the Supremes version. Never mind.)
I’m giving this five, because even though it sails a bit close to the easy listening wind in places, even though it’s a pale reflection of the original, it’s still a fun (and funny) exercise to hear a Supremes hit retooled as a big band number, and while most mid-Sixties instrumental big band music is inherently naff to a degree, this at least has a good time with its cheesy lack of permanence. Choker carries his task out with professional dedication, and the result is probably the best darned big band cover of Come See About Me we could have hoped for. Assuming your hopes were as low as mine.
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!)
COVERWATCH
Motown Junkies has reviewed other Motown versions of this song:
- The Supremes (October 1964)
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 Choker Campbell? Click for more.)
The Temptations “(Talking ’Bout) Nobody But My Baby” |
Choker Campbell’s Big Band “Pride And Joy” |
DISCOVERING MOTOWN |
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Dave L said:
Only because I was in front of the right cutout bin, at the right moment, can I proudly say I’ve got Hits of the Sixties, sealed mint, one day back in the early 1970s. I bet it didn’t cost me two bucks. Around that same time, I luckily ended up with 12 Year Old Genius and -start drooling- Playboy with the first, white & blue Tamla label.
Campbell’s album is no work of essential Motown greatness, but it’s not without its fun, like this single. All these years later, having any works from the label’s more offbeat roster names is a little treasure nugget even if what’s the grooves isn’t earth shaking.
Another very nice review, Nixon. 🙂
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Landini said:
Wow Dave L! I would have loved to have been at that cutout bin myself. In the late 60s I got “Meet The Supremes” (blue cover) & “Marvin Gaye’s Greatest Hits Vol 2” in a cutout bin. Or actually I was with my mom (I was 11 at the time!) & she picked them up for me with the agreement that they would be given to me months later as Christmas gifts. That was a good enough deal for me! Of course, I foolishly let go of both albums at some point when I was downsizing. Funny thing, in the early 80’s I off loaded (again very foolishly!) a bunch of vinyl at a used record store (mostly Motown albums). The guy looking through them said “Wow you were really into soul music!” Yep! Still am!
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Dave L said:
Never in the sixties could I have named for anyone what the missing catalog numbers were between “Without The One You Love” (Motown 1069) and “Ask The Lonely” (Motown 1073). The Crawford, Martin and Campbell singles clear that up, but they’re not the only instance on The Complete Motown Singles, and by extension, here on Motown Junkies, where long-mysterious chronological jumps are now revealed as singles that -good or bad- died on the launch pad, commercially speaking.
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Damecia said:
Being that I only heard a snippet of this song I have to take Steve D’s review for what it is. I can hear the cheese now lol
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bogart4017 said:
I only ever heard this on the radio once or twice and quickly formed almost the same opinion as our moderator. Its good for a “chaser” at a live show or a segue in a documentary or even some enterprising personality jocks radio ad…but a single? As Ruth Brown sang, I Don’t Know.
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Michael Boylan said:
Love this site, first time here.
Choker Campbell was an enigma to us in the 60s, going to the Motortown Review at the Fox Theater in Detroit during holiday season. 3 shows a day from Christmas to New Years Eve. A “B” Western played in the interval between shows, lots of kids hanging out. I was young, naive, couldn’t believe women throwing panties and bras at Marvin Gaye.
Earl Van Dyke was the front man for many in the Detroit jazz scene, never could get a line on where Campbell came from. I had not even heard of the Campbell singles or album until reading this report. Excellent research, thank you. The Van Dyke covers were lame big band music, something for ma and pa.
Saw theReview while in college in Cincinnati, he was leading the band on tour then. I have a program with his autograph. Dapper dude, pencil thin mustache, processed pompadour, horn rimmed glasses.
Thanks for this site, will be back. Keep up the good work.
MB, Detroit
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nafalmat said:
It seems odd to me that Motown would issue this at the same time the Supremes’ version was topping the Hot 100. As the arrangement is so similar to the hit version it would seem highly unlikely that the public would go and but this at the same time as the Supremes’ version. It seems a strange marketing strategy to me. EMI in the UK had a much better idea of releasing ‘Mickey’s Monkey’ instead. This had a completely different arrangement to the original which worked surprising well and sounded new and refreshing. Although this stood no chance of being a hit in Britain (big band records were not making the charts here at that time), it might have stood a chance of reasonable sales in the States.
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Robb Klein said:
The release of this single may have been the normal tool to market the LP. But, like a lot of other Motown throwaways, I can’t imagine why they thought it might sell.
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Ben Fergu said:
An accomplished sax player, a respected leader of men, and later a talented producer – not to mention a notorious rake
This, I have not heard about. Are there details that can be divulged now, or is that for a later installment?
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