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Motown M 1076 (B), April 1965
B-side of I Can’t Help Myself (Sugar Pie, Honey Bunch)
(Written by Mickey Stevenson and Ivy Jo Hunter)
Tamla Motown TMG 515 (B), May 1965
B-side of I Can’t Help Myself (Sugar Pie, Honey Bunch)
(Released in the UK under license through EMI/Tamla Motown)
Whether accidentally or not, both sides of this, the Four Tops’ first Number One single, end up reminding the listener of other records.
For the A-side, I Can’t Help Myself (Sugar Pie, Honey Bunch), the song called to mind was the Supremes’ Where Did Our Love Go – which was perhaps to be expected, as both songs were written and produced by the same people, the super-hot Holland-Dozier-Holland team. Here, on the flip, we’re reunited with Mickey Stevenson and Ivy Jo Hunter, who’d penned the Tops’ previous (hit) single Ask The Lonely (recorded five days before this one, both songs being included on the Tops’ self-titled début LP), and who therefore, following standard Motown protocol, should really have been given the next one too. This would have made a fine choice.
But Holland-Dozier-Holland, long-time admirers of the Four Tops and fresh from racking up a string of Number Ones with the Supremes, appear to have “pulled rank” (even though Stevenson was A&R director for the whole label, there was no-one hotter than HDH right now.) I like to imagine them throwing I Can’t Help Myself (Sugar Pie, Honey Bunch) into the Quality Control meeting like a live grenade, knowing it would blow anything else off the table. Ah, politics.
Despite the different backstories, though, this record is just as reminiscent of something else as the A-side had been. Oh, the effect is much less overt here – Sad Souvenirs isn’t outright based around a whole other song we’ve already heard – but I still get what you might call echoes of other records. Various Bond themes – “Goldfinger” and “Thunderball” in particular. The Lewis Sisters’ upcoming He’s An Oddball. And, most bizarrely of all, Petula Clark’s “Downtown”. It doesn’t really sound much like any of those when you sit down and play it, and yet these past few days, whenever I’ve started humming Sad Souvenirs or going over it in my head, it’s somehow manahged to segue (in a horrific medley) into each of those at one time or another.
That’s not necessarily a bad thing, of course. Those are all good songs, for a start. More importantly, Levi Stubbs has a voice made for melodrama, and here, among all the heraldic trumpets, and all the taut, decorative string stings, and all those drums beating out their molasses-slow marching tempo, the Four Tops’ developing sound – the three remaining Tops and the three Andantes, the label’s female backing singers, blending together in semi-operatic harmony behind their barking angel of a leader – well, that sound feels like it’s found its natural home.
As with Marvin Gaye, the Four Tops’ B-sides around this time seem to illustrate a kind of alternate development path – a path never followed, superseded by the time the record was ready, rendered obsolete by whatever was used on the next A-side. This is an absolutely obvious, and fitting, follow-up to and follow-on from Ask The Lonely: it’s sonically bigger, if lyrically shallower, and similarly arranged. The tune vamps dramatically between what sound like two different songs that have been grafted together, just like its predecessor. It also gives us a great pointer for the group’s future, in the shape of Levi’s shoutiest lead vocal yet; some notes take your breath away with their beauty and pain, some notes take his breath away as he barks and spits his phrases, but all of it calls to mind the astounding work he’ll be turning in just over a year from now. If you feel that you can’t go on…
But this was old news. By the time the question of the next Four Tops 45 was raised, both Motown and the group themselves had moved on, had already learned to incorporate the lessons learned here into new and better records. Holland-Dozier-Holland wrote a killer pop single to harness the Tops sound to a commercial beat, and Sad Souvenirs became an appropriately titled throwback.
As with all really good Motown, though, Sad Souvenirs is plenty satisfying on so many levels. It sounds wonderful: it’s well played and beautifully sung, with an excellent tune, eminently whistleable (even if, in my case, it morphs into a different song around verse two). It’s got good lyrics, elements of both Come And Get These Memories and 7-Rooms Of Gloom twisted up into a bitter, lonely stalk of a song, all the better for Levi Stubbs to climb right to the top, wondering whether to jump as the Other Six gather around on the ground and in the clouds. And it’s enjoyable to hear the stirrings of future greatness in a group that would already be classed as great even if they’d split up immediately after their first album was released.
Man, I love the Four Tops.
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 Four Tops? Click for more.)
The Four Tops “I Can’t Help Myself (Sugar Pie, Honey Bunch)” |
Howard Crockett “All The Good Times Are Gone” |
DISCOVERING MOTOWN |
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Ed Pauli said:
Let’s get the last Mel-o-Dy out of the way–even I , probably the biggest country fan in this forum is anxious to get away from it–LOL
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The Nixon Administration said:
Ohhh, just you wait, I’ve got plenty to say on the subject.
Rather too much, in fact. The B-side made me incoherently livid; it took a while to calm down enough to write about it.
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Landini said:
This is a pretty cool song. Never thought about the “Downtown” /”Goldfinger” influence, but now that you mention it, it does make sense. If you want to listen to a Motown song that really sounds like “Downtown”, give a listen to “Loneliness is a Lonely Feeling” by Martha & the Vandellas from the “Sugar & Spice” album.
I never realized this was a Stevenson-Hunter song. Just assumed it was HDH.
Speaking of Bond themes, wouldn’t it have been cool if the 4 Tops had sung a Bond theme song? They are about the only Motown artists who I think could pull that off.
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144man said:
People talk about the Motown Sound, but in reality there were as many different sounds as there were composers. You just have to listen to songs such as “Sad Souvenirs”, “Behind A Painted Smile” or “Got to Have You Back” and, even if you didn’t know who wrote them, you could immediately identify them as the works of Ivy Jo Hunter.
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144man said:
…Or is the difference in the production and arrangement rather than something inherent in the songs themselves?
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Mark V said:
There were SO many different aspects of the Motown Sound, and it really points to the strong personalities of the writers and producers. Ivy Jo usually went to the bluesy, sad side in his lyrics, while H-D-H would temper their sad songs with a more even-handed approach (This old heart of mine—is weak for you; Keep falling in and out of love; I can’t help myself—there’s nothing I can do!). Ivy Jo would go for the darker side: “I see a closing door, a door of nevermore…got to have back (I’m drowning in misery).” He should have had many more records released, but he ran afoul of Gordy and paid the price.
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Dave L said:
Souvenirs is one of the earliest Tops songs that shows Levi’s ability to convey a tale of pain, but also with a palpable sense of indignant insult. He’s hurt, but he’s also angry at ‘you’ finding the gall to callously hurt him after he’s tried to do everything right.
HDH were listening and would build the perfect platform for this talent soon enough with the panicky “Standing In The Shadows Of Love.”
Don’t your conscience kinda bother you?!
How can you … watch me cry after all I’ve done for you?
A 7 seems just right. A fine b-side and a sturdy piece of the first album also.
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I LOVE THE SUPREMES AND TEMPTATONS said:
I pretty much agree with your rating….I also love the guys harmonizes on this
Another thing I love about this song is it has this sorta dark mysterious feel to it…total opposite of sugar pie honey bunch….
7/10
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Randy Brown said:
The repeated descending figure in the hook is also reminiscent of “Lonely, Lonely Girl/Man Am I.”
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Randy Brown said:
Another thought: this is one of the great “flotsam and jetsam of heartbreak” songs, along with “Come and Get These Memories” and the Psychedelic Furs’ magnificent “All Of This and Nothing.”
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Damecia said:
Great song! I enjoyed this more than I expected. Just as good as its A-Side.
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Ed Pauli said:
As you can see by the label photo, Columbia was still pressing Motown label singles–however, it is their crappy styrene thatg makes them so bad–YOU NEED TO LOOK FOR THE RCA PRESSINGS this one would be S*** [I’m not swearing, I’m jsut saying the first letter is “S” followed by a number and so on..LOL]
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Rupert Kinnard said:
I simply love what seems to be that consistent halting beat! I just LOVE it! 8/10 at least!
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Rupert Kinnard said:
I also have always thought this song was a male companion piece to Come and Get These Memories… What say you guys?
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bogart4017 said:
At least an 8/10 this record got worn out a platter party not long after ICHM became popular. Somebody flipped the record and people lost there minds. Before the month was out everyone in the neighborhood had a copy.
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Landini said:
This is a pretty cool song. Have you heard “Memories” by Marvin Gaye? It is a similar sort of song. Interesting companion piece to this one. Apparently, the Isley Bros did a version of “Sad Souveniers” though I don’t think it was ever officially released.
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Landini said:
Just for the record, the song “Memories” was written by Brown/Storey/George Gordy. Motown had a lot of great unsung writers/producers/arrangers etc.
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bogart4017 said:
i certainly have. Its on the “MPG” lp released in 1969 and its one of my favorite album cuts by Marvin.
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Landini said:
Was just listening to the 4 Tops in the car & heard “Don’t Turn Away”. I didn’t realize that “Sad Souveniers” & “Don’t Turn Away” sound so similar. “Don’t Turn Away” is also a Stevenson/Hunter song.
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Lord Baltimore said:
It was around 1978 when I acquired this LP during my initial collecting frenzy, and there is a handful of Motown LPs from this comparatively early period where I could actually display the patience to let them play through. This is one of those albums. “Sad Souvenirs”, “Tea House In China Town”, & “Love Has Gone” all surprised me as being solid material. While a “7” is a little generous compared to my favorite Motown songs, it is not some outrageous rating. I’ll give it a “6” though.
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Kevin Moore said:
>”Downtown'”
Thank you! I couldn’t quite place it.
Which of the 4 Tops is the one at the lower left of the album cover ? He looks like Key of Key & Peele!
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