Tags
Tamla T 54118 (A), June 1965
b/w A Fork In The Road
(Written by Smokey Robinson, Pete Moore and Marv Tarplin)
Tamla Motown TMG 522 (A), July 1965
b/w A Fork In The Road
(Released in the UK under license through EMI/Tamla Motown)
While there are Miracles records I like better than this one – not many, mind you, and not by much, but I thought I should get that out of the way right from the beginning – well, in any case, The Tracks Of My Tears probably shows off just what kind of a crazed genius Motown had in Smokey Robinson.
Smokey was on a tear in the spring of 1965, and (not coincidentally) the Miracles had never been in better shape; his production, his singing and his songwriting were at an all-time high. That latter point was reinforced by his level of understanding with his bandmates, each of whom brought something new to the table, ranging from expert palette-mixing right the way through to presenting Smokey with almost-completed songs waiting only for a final polish. The Tracks Of My Tears – why do so many people leave out the The in the title? – falls somewhere between those two poles, and it’s a great example of what separates the likes of Robinson from mere “good” songwriters, never mind schmucks like me and you.
Marv Tarplin’s beautiful guitar, early morning sunlight on the water, chimes into the track and everything bursts into life. The Miracles strike up a calypso riff – Doo doo doo doo, doo doo DOO doo… – and the drums kick in with a weird syncopated rhythm, almost microscopically off-beat (and doubtless that’s on purpose, of which more later), strangely magnetic in its half-hesitancy. And then…
Well, and then nothing, as far as Tarplin and Pete Moore had got with the germ of the song. The riff, conceived as a playful variation on Harry Belafonte’s The Banana Boat Song, had evolved into the seed of something good, something full of regret and heartache, as though there were tears of recrimination baked into its very chords – but that’s as far as it went. A great intro with nowhere to go. What do you do? You do the same thing every Motown act does sooner or later, and call in the world’s greatest musical proofreader. Enter Smokey Robinson.
A couple of years ago, Smokey played a sold-out set at the BBC Electric Proms here in Britain, the entire concert broadcast live on TV. He was on remarkable form, the audience eating out of the palm of his hand, so much so that he could afford to throw in two lengthy selections from his then-current Time Flies When You’re Having Fun LP, an album which 95% of the crowd manifestly hadn’t ever heard before, and still keep their attention. When he closed his set with The Tracks Of My Tears, the punters knew every word. Every word. And in the chorus, Smokey was able to do something I’ve only ever seen a couple of times in my life: he could stop singing altogether and let the crowd take over en masse. What’s more, the singing was loud, boisterous, communal; not only has this somehow become Smokey’s My Way or Angels, it showed the magic of what he’d achieved in writing it this way: it feels like such a tender, vulnerable song, I hadn’t noticed the chorus is a football chant.
When I say “magic”, I mean something new, something different. I’ve talked on numerous occasions about the “magic” of Motown, and in particular the effortless quality many great Motown records have; equally, it’s important to note many great Motown records don’t have it at all. This is one of the ones that sounds mortal, like it’s being pushed uphill rather than rolled downhill (probably the best analogy I can make). There are lots of great Motown records that share this one’s straining physical effort – Heat Wave is a superlative example – but Smokey does a unique thing here, turning a lack of airy glide to the record’s own advantage.
(Not that it’s a difficult slog of a song or anything – indeed, it’s one of those Motown singles where, when it’s not actually playing, I always remember it being softer and more mellow-sounding than it actually does, such that I was tempted to laud Aretha Franklin’s incredibly worthy version as more of a radical departure than it really is – but rather, that there’s a slightly forced quality to this, Smokey turning in something akin to the Temptations’ My Girl (a song he wrote, of course), only built with cinder blocks instead of feathers. Usually that would sound like a criticism, but here I never get the feeling it’s anything other than intentional; where Robinson’s It’s Growing was trying so, so hard to capture the beauty and grace of My Girl, groping its way in the dark and emerging in a slightly different place than expected, The Tracks Of My Tears is like this on purpose.)
The lyrics are full of struggle – internalised struggle, sure, and desperate for release, but struggle nonetheless, Smokey’s narrator stuck in a kind of hellish no man’s land (it’s never entirely clear whether this second-person screed is actually meant for the ears of his former beloved). The music, with its tiny pauses and its slightly leaden moments – and that chorus, designed to be bellowed by twelve thousand people – isn’t trying to be graceful and dainty, it’s reflecting the pain of its narrator. Accordingly, almost everything about this, save Marv and the Miracles themselves (whose backing vocals are as angelic as ever), is resolutely earthbound, exhilarating like a dragster rather than a rocket; heart in the clouds, feet of clay.
Does he blame her for the breakup (“since YOU left me…”)? Does he want her back (“You’re the permanent one… I need you, I need you!”), or is it just an exercise in massive, hysterical, grandstanding self-pity?
If it is meant to win her back, it’s a very oblique way of doing it; the song makes no reference to their blissful life before the breakup, not even obliquely like Since I Lost My Baby; there’s no happiness in here to contrast with his current all-consuming despair. (Even though, in common with Since I Lost My Baby, Robinson sneaks in a little chink of light for the listener: “…my hope is fading, he mourns. Fading, not dead.)
But this is the picture of a man who doesn’t know what went wrong or how to fix it, and not only is he afraid he’ll never be happy again, he’s been crying so hard his tears have left a literal mark on his face. And you’d see it, too, if you were looking hard enough, he chides her (and us). An amazing image.
The idea of a man on the edge putting on a brave face and pretending to be happy is, of course, ground which Smokey had mined before, and would go on to mine again to even greater heights, but there’s something about the way this is expressed that can’t help but strike a chord: it’s so over-the-top, it resonates, reverberates, sticks in the mind. Smokey isn’t just talking about wet tear-stains on his cheeks, he’s talking about his tears wearing actual grooves in his skin; obviously they haven’t really done that, but it’s a beautiful poetic image and one of the best high-concept lyrics Smokey ever coined.
Robinson, again, is on just spectacular form as a singer; he brings to this a kind of looseness, an intensely personal, likeable touch to what might have been a grandiose and self-aggrandising empty gesture, bombastic and uncalled for. Instead? Well, as we’ve seen, he’s able to get entire stadiums chanting along with him in an almost celebratory communal plea for a second chance, whilst never for one second making us doubt him.
It helps, I suppose, that the tune is insanely catchy; the sort of melody to be whistled and hummed in showers across the world, and (again like My Girl) it’s hard to pin down just which of the many, many hooks is the biggest game-changing moment, which bit we’ll be whistling and humming as we lather, rinse, repeat. Pete Townshend voted for the heavenly pause followed by Smokey’s pronunciation of the word “…substitute”, writing an entire song based on it; Billy Bragg (who calls this his all-time favourite song, and turned in his own stripped-down guitar cover by way of tribute) opts for the anthemic “Take a GOOD look…”; the editors of Rolling Stone, who declared this one of the fifty best songs ever written, picked up on its ability to leave audiences in tears while still managing a stadium rock hook like “OUTSIDE! I’m masquerading! INSIDE! My hope is fading!”. Me, I’m particularly partial to the staccato breakdown, as if everything in Smokey’s head just trips over itself in a bid for escape – My smile is my make-up I wear since my break-up with you!. You probably have a different pick of your own, and that just goes to show what a remarkable record this really is.
For the second time in a row, the Miracles are shafted out of a (10) simply because I’ve only got fifty to award, and I’d run out of them. But, again, if you were to say this one was your favourite Miracles single, favourite Motown single, even… I’d get it.
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 Smokey Robinson & The Miracles? Click for more.)
The Contours “Searching For A Girl” |
The Miracles “A Fork In The Road” |
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. |
Nick in Pasadena said:
I think you nailed it. While I love this record — amazing lyrics, beautifully catchy melody, incredible production, fantastic performance — it never quite makes it to my all-time Motown favorite list. Like you, there are a couple of other Miracles tracks that edge it out. (One of which is “That’s What Love is Made Of,” so I know we don’t agree on that one, but I’m waiting to see if you agree with me on the other!)
LikeLike
Bob Harlow said:
Great review as usual from Nixon. I also might come up with a couple of Miracles records that I like just a little more.than “The Tracks of My Tears” However, It is
one of the great Motown classics and to me gets better the more I hear it.
10/10 .
LikeLike
John Plant said:
Lying awake at night in anticipation of this post (yes, Steve!!) I was thinking about the way those brass interjections at the end of each line of the chorus serve as intensifiers. It’s a strategy worthy of Verdi or Mozart. Lachyrmal splendour, and an absolute 10 – it’s fun to know that it’s Billy Bragg’s favourite song – it’s not even my favourite Motown song – either Ooo Baby Baby or Heat Wave, depending on the day… but it’s close to the top. (My favourite SONG is probably Schumann’s Stille Tränen – Silent Tears! – this fine version was posted by a certain WILLIAM ROBINSON – I make bold to provide the link because of this glorious coincidence, and of the fact that you get an English translation while you listen!)
http://www.youtube.com/watch?v=MPiLtz2bZSs Steve, you illuminate as always even though I’m not thrilled about the 9!!
LikeLike
The Nixon Administration said:
Lying awake…? That’s some pressure to live up to, right there. I hope you weren’t too disappointed!
I’ve been trying hard to keep to an “every 2 days” schedule, but with a baby and a toddler in the house, it’s not so easy to find the time to take the time.
LikeLike
John Plant said:
Dear Steve, I never have a complaint about your pace – the suspenseful anticipation surely heightens the pleasure! But I WAS indeed laying awake anticipating… much as I’d be lying awake, excited, if I were going to see an opera – or a Motortown Review – the next day. No pressure and above all no hurry! — By the way, Dave, I share your love of the flip side – I was hoping, alas, for a doublesided 10!
LikeLike
Michael Landes said:
Wonderful review as usual. also not surprising that your personal
top picks doesn’t correspond to an arbitrarily chosen number like
fifty. However, I hope you make up your authentic list of top picks
at some point. Fifty-five or seventy-five, whatever it happens to be.
I’d certainly be interested.
LikeLike
The Nixon Administration said:
An interesting notion 🙂 The top fifty are my top fifty; there had to be a cut-off point somewhere, otherwise it’s just shades of grey all the way down. Plus, it was a cathartic exercise to put the fifty 10s together, as others who’ve taken that plunge will attest. It’s not so much that I have e.g. 84 “real” favourites, but rather that some 9s are probably a little closer than others, might have been 10s if I was picking a top 84, or whatever. “Ooo Baby Baby” was the last record to be excised from the top fifty, the last one where there literally wasn’t any more room without throwing something else overboard that I found even more painful to drop; this one wasn’t too far behind.
LikeLike
John Plant said:
Of course, all of us want you to love precisely the same songs as we, and with the same intensity, in addition to validating our affection with your luminous analysis! But then we’d be missing out on the discovery of so many treasures which passed under our radar. No one is going to love a song any less because you give it less than a 10, and many songs are going to take on new life because of the perceptive vitality you bring to them. And yes, the ultimate discovery of doing the ’50’ was to realize that there are more than 50 authentic, beloved, irreplaceable Motown masterpieces. Amen and thank you again!
LikeLike
W.B. said:
I’d certainly rate this number 10/10 – if in relation to Linda Ronstadt’s by-the-numbers cover of about a decade later. (Though I noticed no-one mentioned Johnny Rivers’ 1967 recording.)
LikeLike
Robb Klein said:
This is certainly in my Top 50 of Motown songs. I’d give it 10/10 any day of the week. It’s at least tied for my favourite Miracles’ song.
LikeLike
The Nixon Administration said:
I can certainly understand that; there’s very little wrong with it to my mind (and I scorn the critics who’ve suggested the lyrics are too sombre for the playful track; the track is EXACTLY RIGHT FOR THESE LYRICS, you poltroons). It’s just not one of my own personal favourites.
LikeLike
Landini said:
Hi Everyone, A little late to this party however… The Miracles own this song but most remakes aren’t bad. It is very hard to mess this song up. Re. other versions :
1) Linda R’s is okay (better than “Heatwave” sheesh! Who’s idea was that?)
2) Johnny Rivers version is nice but not spectacular. I tend to like J Rivers music overall
3) Aretha’s version is pretty good
4) Haven’t heard Gladys Knight’s version in ages but remember it being listenable
Hope my Motown friends are all well.
LikeLike
The Nixon Administration said:
Mmm, I steered clear of mentioning those two covers – both a bit naff in my view – in favour of more intelligent readings like Aretha and Billy Bragg, but it’s worth noting that this is one of only a few Motown classics to have generated external remakes that were big, legitimate chart hits in their own right.
LikeLike
144man said:
My second favourite record of the year, beaten only by “Nowhere to Run”. The first time I heard it on the radio, I had to go straight out and buy it. A definite 10/10, in my top 10 Motown records.
LikeLike
The Nixon Administration said:
Certainly it grabbed me from the start, as it must have done Marv Tarplin when he realised what he’d done while messing around with The Banana Boat Song. The unexpected wattage of that chorus still packs a surprising punch, though, no matter how many times I play it.
LikeLike
Dave L said:
This is a very difficult Motown record to try to hear with fresh ears. Like Otis Redding’s “Dock of The Bay,” James Brown’s “Papa’s Got A Brand New Bag,” Aretha’s “Respect” and Barbra’s “People,” it’s the signature song that all but emblazoned Smokey’s name around the moon.
But it is a masterpiece, deserves at least a 9 -and for most folks, a 10- and I do love it. If I nurse a trace of resentment here, it’s because I know there are equally great Robinson works that aren’t half as well known. But maybe that’s a good thing: it’s prevented my hearing dreadful covers of them or -God forbid- made into commercial jingles.
Great as “Tracks” is, my secret is that I love the flipside even more.
LikeLike
Jonathan said:
“A Fork In The Road” is as dreamy a song as Smokey’s ever written. A throwback to the 50s. I too, am partial to it.
LikeLike
MichaelS said:
As great as “The Tracks Of My Tears” is and deserving of Mr. Nixon’s rating of “9,” there’s another Miracles’ tune around the corner worthy of an even higher mark! And, yes, it’s not nearly as well-known as this one.
LikeLike
The Nixon Administration said:
The Miracles have 10s in their future, but I’m saying no more than that…
LikeLike
Jonathan said:
Gladys Knight and the Pips version was, in my opinion, the best cover of this timeless song. Aretha’s was great to. Great review!
LikeLike
The Nixon Administration said:
Thanks Jonathan, glad you’re enjoying.
Gladys’ version was used as a B-side in 1970, so we’ll be covering it here on Motown Junkies in due course.
LikeLike
Damecia said:
Mmmmm….I wonder what song you have in your Top 50 of Motown songs that is better than this 1. A 9 is not bad, but this is the best of the best here, so I have to disagree.
I agree with all the praise you’ve written. I have to add my own now lol. My favorite part is the first couple of lines Smokey sings, “People say I’m the life of the paaarty because I tell a joke or two.” Right then and there I know this is gonna be a story I must hear…what’s wrong with him? what happened to him? i might can relate to him—-these are all thoughts that run through my mind each and everytime I hear that opening.
LikeLike
Mary Plant said:
Damecia – Reading your words reminds me of my favorite Johnny Cash song – I Still Miss Someone. I reluctantly agree with the 9 – such a gorgeous and sad song, but in my view there’s another gorgeous & sad one down the road that ranks ever so slightly higher! And I like the Linda Ronstadt one too – not nearly as much as this, though!
LikeLike
Damecia said:
Hi Miss Mary! I’ve never heard of “I Still Miss Someone,” but I as well don’t think the Ronstadt version is as good as this.
LikeLike
Mary Plant said:
Well, I totally agree with you there – I just think it’s not as bad as some of our wonderful co-commenters think it is, and like Landini says WAAAAY better than her Heat Wave. Check out I Still Miss Someone on Youtube – it looks like there are many choices!
LikeLike
Damecia said:
LOL! Exactly…what do these guy know? = )
LikeLike
Damecia said:
oh yeah I forgot to mention how much I like Linda Ronstandt’s cover as well.
LikeLike
The Nixon Administration said:
Now that DOES surprise me 🙂
LikeLike
Damecia said:
Really!? lol. Why is this surprising Steve D???
How do you feel about her version???
LikeLike
Mickey The Twistin' Playboy said:
This is arguably The Miracles best song from as far as lyrics go. I love it yet as far as Miracles’ ballads go.. for me.. it’s a 8.5/10. I rank it behind Ooo Baby Baby, The Love I Saw In You Was Just A Mirage, Baby Baby Don’t Cry, and I’ll Try Something New.
LikeLike
David L. said:
This is a great song – there’s no doubt about it. I agree with NIck when he says it doesn’t quite get the confetti even with a great intro,lyrics, and melody. And it seems like its always been considered a solid nine for years. Yet, during it’s time on the charts it only reached as high as 16 on the Billboard charts. There’s a number of other Motown classics with legacies a lot bigger than their first run. As far as the other similarly themed songs, this was the best. “Clown” was the dreggs. Anyway, another insightful interpretation from Nixon.
LikeLike
Landini said:
This is a fine song though maybe a tad overplayed. And for some reason I seem to like “My Girl Has Gone” a little bit better.
LikeLike
Edin Burak said:
I like My Girl Has Gone too. This song is epic but overplayed.
LikeLike
bogart4017 said:
I’ll agree with the 9 because the flip is a sho ’nuff 10!
LikeLike
Topkat said:
THE MIRACLES have MORE GRAMMY HALL OF FAME -INDUCTED SONGS THAN ANY OTHER MOTOWN GROUP.
…This is one of them :
LikeLike
Topkat said:
The awards that this Miracles song has won are impressive;
The Miracles’ recording of “The Tracks of My Tears” ranked at #50 on Rolling Stone’s The 500 Greatest Songs of All Time in 2004
the track was also a 2007 inductee into the Grammy Hall of Fame. On May 14, 2008, the track was preserved by the United States Library of Congress as an “culturally, historically, and aesthetically significance” to the National Recording Registry. The song “The Tracks of My Tears” was also awarded “The Award Of Merit” from The American Society of Composers, Authors,and Publishers (ASCAP) for Miracles members/composers Pete Moore, Marv Tarplin, and Smokey Robinson.
Ranked by the RIAA and the National Endowment for the Arts at number 127 in its list of the Songs of the Century – the 365 Greatest Songs of the 20th Century – “The Tracks of My Tears” was also chosen as one of The Rock and Roll Hall of Fame’s 500 Songs that Shaped Rock and Roll. Additionally the song ranked at number 5 of the “Top 10 Best Songs of All Time” by a panel of 20 top industry songwriters and producers including Hal David, Paul McCartney, Brian Wilson, Jerry Leiber, and others as reported to Britain’s Mojo music magazine.[
LikeLike
Kevin Moore said:
I looked up that Mojo list (http://whitgunn.freeservers.com/Davemusic/-songs/mojo.html) – actually Tracks of My Tears was #9, the other Motown track being Grapevine at #5. However, the rest of the Top 100 is bizarre in the extreme, with God Save the Queen and Be My Little Baby topping anything by the Beatles, Motown or Dylan. The only defense I could offer for these Mojo folks as the men in white coats drag them off is that I imagine they’re massively weighing it towards what they consider to be “influential” songs rather than great songs. Still, I don’t think that would stay the white suits for very long. But if those are “industry experts”, I guess we should cut our host plenty of slack for the occasional eccentric ranking.
As for this particular song, I’d give it a 10, but somewhere in the middle of the pack of 50 – not #2 of all Motown – and of course, assuming our host (I call you that because I know your name isn’t Paul Nixon and I have no idea what it is) hasn’t retired after 688 tremendous essays – we will eventually be clamoring for you to rank your 50 10/10s! For my own list, so far Baby I Need Your Lovin’ is leading, I think.
LikeLike
Kevin Moore said:
WAIT WAIt WAIT! I’m sorry – that’s a link to some other Mojo list. Here’s the one Topkat’s referring to (and it’s a bit less eccentric): http://www.rocklistmusic.co.uk/mojo.html#100 Greatest
The trouble with this list is that if you put Over the Rainbow in there, you’re opening the door to a whole other category. But in any case, here are the Motown entries in this second list: Tracks of My Tears (5), Grapevine (21), Baby I Need Your Lovin (66), Just My Imagination (74). And there are several on the list that we’ve already identified as being partially derived from Motown!
LikeLike
144man said:
“This is a sterling side from the always superb Miracles, and I’m betting that it will become a classic in their repertoire. Smokey takes lead in his most soulful, sincere and pleading style, and the whole opus builds to a swirling, all-happening climax. A first class record in every way, and so moving and charged with feeling that I know everyone will buy it without a recommendation from me! Guaranteed goose-bump raiser. Well done! 5/5
“[A Fork In the Road] 4/5”
[Dave Godin, Hitsville USA 8, 1965]
LikeLike