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Motown M 1076 (A), April 1965
b/w Sad Souvenirs
(Written by Brian Holland, Lamont Dozier and Edward Holland Jr.)
Tamla Motown TMG 515 (A), May 1965
b/w Sad Souvenirs
(Released in the UK under license through EMI/Tamla Motown)
The Four Tops were so named back in 1954 because they were “aiming for the top”. If you’d told Levi, Duke, Obie and Lawrence that it would be an eleven-year journey to finally get there, I wonder how they’d have reacted? Would they have been discouraged, fazed by the prospect of a decade of thankless toil, slogging their way around dingy venues the length and breadth of the country? Or would they have been glad to know that no matter how long it would take, they were indeed headed to the top after all?
This, the group’s first Number One single – it replaced the Supremes’ Back In My Arms Again at the peak of the Hot 100, a Motown single unseating a Motown single as the nation’s biggest-selling record, in a turn of events nobody had seriously predicted even three years earlier – is the simplest, the most straightforward and the least musically ambitious of their Motown efforts to date. Maybe that’s why it hit so big; maybe the Tops’ earlier records were just too clever.
Or maybe it gatecrashed the Number One slot because it’s not just simple, it’s effortless, a streamlining of the Four Tops’ unique, signature sound – the heavenly blend of three guys and three ladies, with Levi Stubbs sing-shouting over the top, half gruff, half angelic – to make it work for a wider audience. And it does work, most certainly it does.
For me, when I first started getting into Motown, not having had prior knowledge of what was an enormous hit and what was a crashing flop, well, when going through the Tops’ magnificent run of mid-Sixties singles for the first time, I Can’t Help Myself (the “Sugar Pie, Honey Bunch” subtitle seems to have been added at some later stage) didn’t jump out at me, didn’t scream success.
And yet, when I discovered it was their first chart-topper, and by far their biggest hit to date, I wasn’t surprised. In fact, the more I listen to it, the more I think the bigger shock might have been had this not gone all the way.
THEY CAN’T HELP THEMSELVES
Mock me if you like, but until it was pointed out to me, I didn’t even notice that this entire song is based around the exact same chords and charts as the Supremes’ Where Did Our Love Go. (Now, of course, it’s all I can bloody hear).
Levi’s passionate delivery marks a big difference from the Supremes’ approach, of course, and it is fundamentally a different song. The excellent looping four-note riff which opens and underpins the record (a riff heard a million times on a million other records, but which Lamont Dozier, James Jamerson and (ahem) Carol Kaye all claim was born right here by them) does a fine job of disguising the fact that the song’s musical skeleton is a hand-me-down affair, but that doesn’t mean you can’t sing Where Did Our Love Go right over the top of it, not to mention noticing that just like the Supremes record, it’s very difficult on first listen to grab hold of what’s verse and what’s chorus.
Critics have had a field day mocking both Holland-Dozier-Holland and Motown for this blatant re-use of old material (not so blatant that I noticed it, of course, but anyway), and Sugar Pie, Honey Bunch almost makes their point for them; Phil Spector’s snide remark about Motown releasing the same record every week with a few notes changed was never closer to being justified than it is here.
But despite the jibes, this is not the same song. In some ways, the comparison is a millstone – this doesn’t have the magic, the alien beauty and pain and poise of Where Did Our Love Go, and it feels a little unambitious as a result, especially when compared with some of the soaring leaps of musical faith seen on older Four Tops singles.
In other ways, though, the comparison serves more to illustrate the good differences between the two groups: on their best days, the Tops have access to a widescreen operatic splendour that the Supremes hadn’t yet been able to master, and on this, the best-sounding Four Tops record yet, they present America with the blueprint for their own sound, a contrast paradoxically heightened by the looming shadow of the Supremes’ own breakthrough hit.
A lot of big words for a small record, and a fine illustration of why sometimes it’s best to let the music do the talking; I don’t often feel superfluous, surplus to requirements, and yet more than any record so far, Sugar Pie, Honey Bunch feels like it stands on its own, like it doesn’t need me to explain why I think it’s good.
The Supremes thing becomes even more interesting when you consider that this, the first fruits of what would become the Four Tops’ second album, the excellently-titled Four Tops Second Album, represented big Tops fans Holland-Dozier-Holland’s first job with the group they loved in quite some time (they’d been absent from the Tops’ previous 45, the lovely Ask The Lonely, lifted from the first album, Four Tops). With that in mind, the none-more-HDH tune and arrangement, the 4/4 beat and classical overtones, can be seen as the trio’s attempt to both jealously mark their territory and also retrace their steps, following their own recipe which had landed the Supremes their first Number One to see if it worked again. And it did.
STOP, LOOK AND LISTEN
There’s no way this could have failed, as I should have realised. It’s just fun to listen to; if it doesn’t surprise you, if it doesn’t do anything you weren’t expecting, well, equally, it does everything you expect, and it does it beautifully. As with Where Did Our Love Go (here I go again), it trusts the listener to grab the concept within a few bars and then spends the entire remaining duration just playing around with it, safe in the knowledge we won’t let go.
Is it my favourite Four Tops record? No, of course not. It’s not even close. But I’ve never not really liked it; this wasn’t some sort of Dancing In The Street thing where a record gradually won me over. Rather, I’ve been fond of it since I first heard it. As a ticket to the very top table, it does its job quite splendidly.
I don’t know if a record can ever be “magnificently adequate”, which sounds like a veiled criticism even though that’s both exactly how I feel, and not at all what I mean. So instead, I’ll put it more positively: everything about this is just right.
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:
- Earl Van Dyke & the Soul Brothers (September 1965)
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 Four Tops? Click for more.)
Kim Weston “I’ll Never See My Love Again” |
The Four Tops “Sad Souvenirs” |
DISCOVERING MOTOWN |
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Mark V said:
I’ve been working on my top 50 Motown singles, just to see if I can do it (currently I have 52), but this one’s never been bumped off. I’ve thought about how to describe it, and I think it would take just a couple of sentences.
At every turn there’s something new to catch the ear. Every new thing is delightful.
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John Plant said:
Can’t wait to see the results! I warn you in advance – whatever two you bump off will haunt your dreams and have you kicking yourself! – but do it anyway, if only for the remorseful pleasure of musing on all the ‘should-have-been-includeds’! What counts is the passionate affirmation of the Fifty!
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Mark V said:
Here goes, or I’ll just keep dithering. (BTW, I hope this lands where it’s supposed to go; I haven’t had much luck replying to the correct post.)
Chris Clark, “Love’s Gone Bad”
Four Tops, “Baby I Need Your Loving,” “I Can’t Help Myself,” “Something About You,” “Standing in the Shadows of Love,” “I’m in a Different World”
Marvin Gaye: “One More Heartache,” “Little Darling (I Need You),” “I Heard It Through the Grapevine”
Marvin Gaye & Tammi Terrell: “Your Precious Love,” “You’re All I Need to Get By”
Brenda Holloway: “I’ll Always Love You,” “Just Look What You’ve Done”
The Isley Brothers: “Got to Have You Back”
Gladys Knight & the Pips: “Take Me in Your Arms and Love Me,” “Didn’t You Know (You’d Have to Cry Sometime)”
The Marvelettes: “I’ll Keep Holding On,” “The Hunter Gets Captured by the Game,” “That’s How Heartaches Are Made”
Martha & the Vandellas: “Come and Get These Memories,” “In My Lonely Room,” “Nowhere to Run,” “You’ve Been in Love Too Long”
Smokey & the Miracles: “I’ll Try Something New,” “Ooo Baby Baby,” “I Second That Emotion,” “Doggone Right,” “Point It Out”
Diana Ross: “Dark Side of the World”
The Supremes: “Come See About Me,” “My World Is Empty Without You,” “Love Is Like an Itching in My Heart,” “You Keep Me Hangin’ On,” “Up the Ladder to the Roof,” “Touch”
Jimmy Ruffin: “What Becomes of the Brokenhearted”
The Spinners: “I’ll Always Love You”
The Temptations: “My Girl,” “Since I Lost My Baby,” “You’ve Got to Earn It,” “(I Know) I’m Losing You,” “All I Need,” “Just My Imagination (Running Away with Me)”
The Velvelettes: “A Bird in the Hand (Is Worth Two in the Bush)”
Jr. Walker & the All Stars: “(I’m a) Road Runner”
Mary Wells: “You Beat Me to the Punch,” “My Guy”
Kim Weston: “Take Me in Your Arms (Rock Me for a Little While)”
Stevie Wonder: “I Was Made to Love Her,” “Angie Girl”
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The Nixon Administration said:
Well done, Mark, and welcome to the club of the damned! 🙂
Some amazing choices there. Dare we ask what the final two casualties were? (My last one was Ooo Baby Baby, for the record.)
If anyone was wondering: 12/50.
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Mark V said:
“One Tear” by Eddie Kendricks and “Ain’t That Peculiar.” You’ve no doubt said, but is your list going forward a work in progress or set in stone?
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Mark V said:
BTW, thanks! I’m all wrung-out!
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Randy Brown said:
“All I Need” as a Tempts fave? Of course, you realize, this means WAR. At least you didn’t include that abomination of a Frank Wilson record…
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MotownFan1962 said:
Are you referring to “Do I Love You (Indeed I Do)”? If so, prepare for a second war!
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Mark V said:
If you’re going to declare war, then it might be time for you to post your top 50. What are those Tempts songs that outrank “All I Need”?
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Riley said:
Really happy to see that you included My World Is Empty Without You and Love Is Like an Itching in my Heart from the Supremes. I’ve always felt that they were both in the top 3 greatest Supremes songs (along with Stop!) and its a shame they did not hit number 1 as were far superior to some of the songs that made it to number 1. Also delighted to see The Hunter Gets Captured by the Game from the Marvelettes, that is my favourite Marvelettes song. I always surprises me a little whenever Stop! In the Name of Love is left out of any kind of list but of course we all have different opinions but i really love that song.
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Mark R. Vining said:
The Supremes had so many superior songs that it’s difficult to choose. Stop! is a great song, but personal taste can be a quirky thing!
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Michael said:
Can I hit the disagree button a hundred times? A Motown classic, definately a ten for me.
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The Nixon Administration said:
No you can’t. But you can tell everyone what I should have said : the floor is yours!
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Rhine Ruder said:
i am very glad you’re saving your four tops’ “tens”. they are just revving up. this is bubble gum … the rich layered chocolate is coming up!
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The Nixon Administration said:
That’s it in a nutshell. Exquisite bubblegum, though.
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Tom Lawler said:
Very few songs instinctively make me dive for the volume control and crank it to 11…but this is one of them (“Ain’t Too Proud To Beg” & “The Tears Of A Clown” are others). Would have given it a 9, but with the Four Tops…the best really is yet to come.
Keep up the great reviews!
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Ed Pauli said:
This song is my TOPS “10”–I personally favor the Tempts over the Tops, but 1966 was their year !!
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Dave L said:
If it’s difficult to hear this one with objective, new ears for someone born in the 70s, it’s all but impossible for someone born in the 50s. It’s a masculine, muscular Motown hit, but like “Baby Love” and “Dancing In The Street” it also has had to survive the wounding that comes with oversaturation.
Maybe no surprise then, that of the three hit Tops singles eventually folded into Second Album, my favorite is “Something About You.” It had its moment in the sun and on the charts (nudging into the Top 20), then assumed its dignified spot in music history without being asked to shill for Duncan Hines brownie mix.
But here and now, trying to forget all that, this was and is a great Motown record, one of the sturdiest. Like all the other best of that year, once you hear that ‘climbing’ intro on the radio, any and all Motown babyboomers are transported back to that time of untroubled ease. Everybody loved it, and the Tops were now on one’s ‘indispensible list’ with all the other Motown greats.
8, 9, 10 – as long as it’s ‘in the green’, I’m good. 🙂
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Landini said:
Oh yeah Dave L… I love “Something About You”. Great tune!
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Lord Baltimore said:
Spot on, Dave L! I was all of 5 1/2 when this song hit the airwaves, and my recognition was getting stronger by the day. I was singing the opening lines of this song one day, and my Mother said “Do you like that song?”. I nodded yes, thinking it wasn’t my favorite song but I must like it if I was singing it and it wasn’t playing right then. I was more bashful about being caught singing lol. Even though I was young, hearing a hit song on the radio in a ’60s car and being in the moment was strong stuff. As for Phil Spector, there is a saying – “Haters are gonna hate” – but in hindsight it was really Benny Benjamin being on absolute fire!!! He was charting a course and making History with that every beat snare that no one else was doing…That to me was the uniqueness of Motown in 1965. An “8” is exactly where I would place this song.
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John Plant said:
I just want to express my fervent agreement with your analysis. A terrific – but not immortal – song, one that needs no apology, but which can’t claim to breathe the same rarefied and intoxicating air as the glorious ‘Reach Out’ and ‘Bernadette’ – but one which it would be churlish and curmudgeonly not to like. I had never made the Supremes connection, but I must admit that I always found their next hit to be all too aptly titled. Bravo again, Nixon. And yes, they ARE operatic! What a voice, and what voices!
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144man said:
Unfortunately, the bass riff spawned Los Bravos’s ghastly “Black Is Black”, which even Jimmy Ruffin’s version does not salvage. More acceptable variations can be heard in The Who’s “Substitute” and ? and The Mysterians “96 Tears”.
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MichaelS said:
Also very prominent in the Newbeats’ “Run, Baby Run (Back Into My Arms), a rousing facsimile of the Motown sound.
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Landini said:
Smokey Robinson even used the “I Can’t Help Myself” riff for one of the songs on his 1991 “Double Good Everything” album.
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mrmxyztplk said:
This bass riff also appears briefly in “Brown Shoes Don’t Make It” by the Mothers of Invention.
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SJC said:
VER well put…always noticeable to my ears, under that Four SEASONS sound!
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SJC said:
Referring to the Newbeats song, “Run Baby Run”, that is.
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144man said:
The whole back-catalog of the Newbeats is well worth investigating.
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Nick in Pasadena said:
This looks to me like another example of “you had to be there.” I can certainly understand your awarding this an “8” based on your rationale of encountering it far after its heyday. But nothing can equal the experience of hearing this as a teenager, blasting forth from a cheap car radio in 1965. Yes, it, shall we say, “borrowed” heavily from other H-D-H songs, but it more than stood on its own. That opening riff alone burrowed its way into some part of my brain that wouldn’t let it go. This will always be a “10” in my book (not my favorite Tops record, though — others I prefer more are coming up!)
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Robb Klein said:
It’s hard to be objective about this song because it was played so very much. I’d give it an 8. I don’t tend to like the HDH style nearly as much as the better Stevenson-Hunter tunes.
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joe oliver (@joeoliver13) said:
I was hotly anticipating this review in the hope that you might debunk this dinosaur, surely it would seem heretical, to an extent that even your review of ‘Back In My Arms Again’ wasn’t, to say anything against it? However with much justification you’ve chipped away just enough of the edifice so that we can see that, whilst rightfully breaking the Four Tops in a way they deserved, is by no means their best record to date or to come. Even if it hadn’t have been a reheated version of the sublime “Where Did Our Love Go?” it would still have a ring of slightly going through the motions for me. After the scathing melodrama of “Ask the Lonely” this feels a little saccharine in the wrong way, the melody effortless but somehow still forced. Even if I had been born in the 50’s as opposed to the 90’s, some albeit slightly generous constructive imagining leads me to think that had I chanced upon “Ask the Lonely” first on a transistor radio a cold school morning in January 1965, it would have cutter deeper and sooner than Sugar Pie ever could.
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treborij said:
Bought this record when it came out and it got hundreds of spins. But it wasn’t until the early 70s, when during a chance hearing on the radio and I started unconsciously singing Where Did Our Love Go on top that I realized that connection. I thought H-D-H were cagey devils when I realized that. Call me slow on the uptake.
But that connection aside, unfortunately this is one of those records that gets overplayed on oldies radio. (Any record in their streak from Baby I Need Your Loving to Walk Away Renee” would be a nice substitute.) As someone said above, they’re just warming up. Considering Reach Out is one of my benchmark Motown records and I like Baby I Need Your Loving and Ask The Lonely more, an 8 or 9 for this is justified. But I love this record.
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Randy Brown said:
“Cagey devils”? Always remember the extended middle finger H-D-H flipped at their critics with the title of the NEXT Tops single…
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Landini said:
This is a fine record for what it is, but I have to admit it isn’t one of my absolute favorites by them. I tend to like the more offbeat 4 Tops songs. Never realized the similarity to “Where Did Our Love Go”.
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mrmxyztplk said:
There’s one small but key difference between the chord progressions of “Can’t Help Myself” and “Where Did Our Love Go”: Both are based primarily on an eight-measure phrase, but the chords in the seventh and eighth measures differ. In fact, they are the reverse of one another. “Can’t Help Myself” goes IV-V, whereas “Where Did Our Love Go” goes V-IV. (Assuming both to be in the key of C, the chords in the last two measures of the “Can’t Help Myself” progression would be F major – G major, and those of the last two measures of “Where Did Our Love Go” would be G major – F major.)
Another musical difference between the two songs is that, rhythmically, “CHM” has a straight eighth note feel (“one-and-two-and-three-and-four-and”) while “WDOLG” is a shuffle (“one-and-a-two-and-a-three-and-a-four-and-a”).
Anyway, your review was thoughtful and well-written, as usual!
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Kevin Moore said:
Yes! Exactly as you say – I wish this site would let me “like” comments. As you point out, it’s same musical hook, but straight time instead of the HDH shuffle. The other enhancement of the sequel is the thematic bass riff. And the lyrics, whether you like them or not, are very hooky themselves. And the breakdown-buildup at 1:40 is pretty great as well.
But if the hook isn’t fresh, our faithful host’s play on words is – hilariously turning the lyrics into a commentary on Motown’s mandatory hook recycling program:
“They can’t help themselves” – ROTFLMFAO
All that said, if we consider the thousands of songs (including most of the snarky Mr. Spector’s) that use the doowoop, blues, or La Bamba progression – or a handful of others, HDH’s I-V-ii hook bears repeating. After a zillion cases of I-ii-V, I could handle quite a few more I-V-iis. Of course, the melodic similarities here are too close for comfort.
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I LOVE THE SUPREMES AND TEMPTATONS said:
hmmm…. probably one of the most popular four top songs ever!…but..not my favorite
I think what kills this song for me is how overplayed it is…but also I just think the tops had better singles than this…STANDING IN THE SHADOWS OF LOVE,SAME OL SONG, BERNADETTE,REACH OUT….This song is child’s play compared to those….
6/10
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Teresa said:
I enjoyed reading the review and love the blog, but I did find one typo in the intro paragraph that’s worth correcting. As you likely realize, Obie and Renaldo are one and the same; the fourth member is Lawrence Payton. Sorry to point out the error, but this review and the others are great reads, and I’m guessing you’d want the details to be right.
Thanks for the blog. One day not too long ago while I was listening to the Motown Number Ones cd, I realized just how fabulous Reach Out, a song I’d heard a gazillion times before but never really appreciated, is. Since then I’ve been a little obsessed with all things Four Tops and HDH and was really happy to find this site.
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The Nixon Administration said:
Oops! I hadn’t even spotted that. The perils of getting distracted mid sentence! Thanks for the spot (and the kind words).
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Damecia said:
Can’t believe I never wrote anything on this post! I’m the last to the bunch, but what bad thing can I say about a universal song that everyone from babies to great grandmothers know! LOL
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Russ29 said:
THIS IS MOTOWN…you ask me what it is, this is what I point you to…so many great things about this record…the intro that launched a thousand imitators…Levi’s masterful vocal…a great lyric, who can resist ” I’m weaker than a man should be, I can’t help myself, I’m a fool in love you see”…the Funk Brothers full on assault on the dance floor sending a thousand pairs of loafers in that very direction…and in one of those bizarre misheard lyric moments I always sing “sugar fine honey bunch” I can’t help myself :-)) a definite 10/10
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bogart4017 said:
overplayed? Sure…but listen to it in mono in 1965 and you’ll never tire of it!
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144man said:
“This one is as near perfect as possible with TM almost stamped on every note. Although some people have said it is like Where Did Our Love Go, I do not feel this is a valid criticism – it is certainly less similar than La De Dah I Love You [by Inez Foxx] was – and it is only that compelling bass riff which they have in common. Levi takes the lead with confidence and I feel that if by some fluke they don’t make number one with this, then they will with their next one! 4/5
“Sad Souvenirs, although in a different groove, is equally good and works its halting and hesitant way to an exciting climax with a full and rich backing. Spectacular. 4/5”
[Dave Godin, Hitsville USA 6, 1965]
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