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Tamla T 54119 (A), August 1965
b/w Funny How Time Slips Away
(Written by Robert Higginbotham)
Tamla T 54119 (A), August 1965
b/w Music Talk
(Second pressing with different B-side)
Tamla Motown TMG 532 (B), September 1965
b/w Music Talk
(Released in the UK under license through EMI/Tamla Motown)
There’s a story, possibly apocryphal but more likely on the balance of probabilities to be true, that as the summer of 1965 dragged on, Motown had finally lost patience with the stuttering career of Stevie Wonder. Three years of singles and albums had given the label no real handle on where his career was heading; he’d scored an entirely unexpected but extremely welcome surprise Number One hit back in May 1963 with Fingertips, which had bought Stevie some time and plenty of goodwill – but as that time ticked away, he’d yielded no further substantial hits, no rave reviews.
But this wasn’t what was going to prematurely end Stevie’s time at Hitsville, if the story is to be believed. Ruthless though Motown head honcho Berry Gordy could be, he was loyal to those who’d been loyal to him, and a Top 40 drought from an artist who’d scored a big hit back in the rats-and-roaches era, the early days when the going was really tough (like, say, the Marvelettes) wasn’t grounds to dump them just because those big hits had now dried up.
Nor was the problem that Stevie was somehow stuck in a rut. Sure, his early/mid-Sixties output is decidedly short on classics, but if anything, he was adopting too scattershot an approach; there’s a maturing musical sensibility on show in places, but it’s mixed up with endless attempts to recapture the spirit of his kiddie novelty oeuvre; if anything, given Motown’s choices of singles in the wake of Fingertips, any blame for his work giving the impression of a series of stale retreads should probably be laid at the feet of the label.
No, the problem was that Stevie’s breakthroughs – not just Fingertips, but the accompanying chart-topping live LP, The 12 Year Old Genius – were by their very nature never going to be repeated. Stevie was 15 now, his voice broken, the demented energy and harmonica skill still there but given a much harder edge by his wickedly sharp wit and newfound blue sense of teenage humour. The cutesy curiosity angle was gone forever; little old ladies weren’t queueing up to coo and applaud his safe kiddie precociousness. It left Stevie in a strange no-man’s-land, and it’s a land that’s been occupied since by any number of child stars who failed to transition to adult stars. It’s not that Stevie was washed up, it’s not even that Motown would necessarily have had a problem with him being washed up; it’s that, as far as “Little Stevie Wonder” was concerned, he was quite literally finished.
Motown, of course, lucked out when it came to talent-spotting kids with bright futures who went on to become legendary grown-ups. Twice they gambled on a precocious performer, twice they managed to (probably inadvertently) identify a great artist ten years hence. Stevie was going places. Not that you’d know it from High Heel Sneakers, which is a record that puts all its eggs in the same basket that had worked so well for Fingertips: a crackling live rendition of a more sedate blues original, in this case Tommy Tucker’s recent 12-bar hit Hi-Heel Sneakers, the record living or dying solely with the sheer energy brought to it by Stevie and his manic stage presence.
I’ll be honest, I wasn’t really looking forward to this; much as I like Fingertips, it’s very much one of a kind, resplendent in its lunkheaded glory, and the attempt to re-do it all two years later didn’t fill me with hope. Recorded live at a Motortown Revue multi-artist show at the Paris Olympia back in April (several songs from which were compiled on a live album, pictured left), this starts out in distinctly unpromising fashion; the French MC makes his introduction, the French crowd claps politely, and we’re transported back to 1963 just as Stevie gets up on stage – his voice a little huskier, his exhortations a little throatier – and asks us all to clap our hands before he picks up his harmonica. Come on, Stevie.
But this turns out to be more fun than initially suggested, the organ-led blues (benefitting from the rare live presence of Motown studio mainstay Earl Van Dyke on keys) carrying strong echoes of the Headliners’ Tonight’s The Night; that record had been underwhelming, positively calling out for a ballsier approach and a more dynamic singer, and that’s borne out here. They don’t come much more dynamic than Stevie Wonder; just as he had two years ago, he wins the audience over quickly, gets them eating out of the palm of his hand and then never lets them go. (It’s not something I noticed right away, but it’s actually the tambourine that leads this, raising the BPM with Stevie following along in its wake.)
He’s still giving the impression of being stuck in a rut, undeniably – this is everything that was both right and wrong about Stevie’s career in mid-’65 all in one record – and the cheesy 40s horns don’t help matters, but this turns out to be perfectly acceptable, divering, even entertaining fare.
I couldn’t in good conscience give it a high mark, given that it shares so much of the DNA of Fingertips without ever scaling the same heights, given that it appeared in the middle of the most glorious golden summer ever enjoyed by any record label in America so far, given that it’s so self-limiting in its dopey ambitions to get your booty shaking and no more. But it’s not embarrassing, and it’s pretty good fun, in its own way; it sets its sights low and hits its mark well enough.
Was it the record to re-establish Stevie as a star? Absolutely not – but that would never come with a throwback like this anyway. Stevie’s future lay in another direction, almost entirely divorced from these beginnings, with Fingertips destined to remain a bizarre outlying anomaly to baffle future discographers. That future was so bright, it’s almost impossible to think it might never have happened; but as enjoyable as High Heel Sneakers ends up being, Motown weren’t going to keep greenlighting these things forever.
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.
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Dave L said:
In the late summer of 1965, even without knowing what greatness was yet to come, this already sounded like a piece of improvement over “Kiss Me Baby” and “Happy Street.” Had fate not intended kindness toward Wonder this might have been an end note an artist wouldn’t have to be ashamed of.
I have to say about 7 on this. Maybe back when I was 11 I wasn’t demanding and this sounded like some exciting fun and my affection kept. The only other version I heard was the Ramsey Lewis Trio, and even back then it wasn’t nearly as teenage-friendly.
I lucked into my existing copy of the album still sealed in a cutout bin March 6, 1975, and the 45 October 30, 1977. It isn’t ‘Tracks,’ ‘Since,’ ‘Stop,’ ‘Run’ or ‘Symphony,’ but it is a decent 1965 Motown single.
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Tom Lawler said:
Love this song….I first heard it watching an old Soupy Sales show. Classic example of an “oh wow!” record if there ever was one.
Didn’t know it came out in 65….it has a very “pre Beatles” Motown vibe to it. Not Stevies best, but still a great party song!
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Mark V said:
I’m not particularly a fan of live singles, but this one made an impact on me. Not really a step forward, but it catches the ear. Regarding your comment about the tambourine, I’d say that that was my favorite part of the record aside from Stevie’s ad libs and overall delivery.
It’s a good example, though rudimentary, of the increasing wizardry of Motown’s mastering. At this point, the singles outshone most any album version; by 1966, the mastering could pinpoint and clarify the lead, a piano run, a background vocal flourish, Jamerson’s bass — almost on a dime. The effect of listening to the singles released during this time frame, with notable exceptions, approaches the psychedelic (even before the flowering of the Summer of Love).
Amazing!
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W.B. said:
Although Motown began to develop its own lacquer mastering department around this time, I think the proper terminology to use would be “mixing” and “editing.” Mono mixes (as prevalent on 45’s) were very much dedicated, and highlighted for optimum advantage over radio airwaves, unlike the stereo which, up to about 1968, seemed almost afterthoughtish. Clearly, Motown perfected this combination of art and science in terms of proper balance of instruments, voices, etc. by this point.
As for the mastering, for the most part that was handled up to that point by RCA Custom at their Chicago outpost, from master tapes supplied by Motown. (It should be pointed out, for those wondering about the “DM” code that started off many a Motown matrix number between 1962 and late 1965/early ’66, that those initials had nothing to do with Motown’s home base between its 1959 founding and its 1972 move to Los Angeles, but actually stood for “Duplicate Master.”)
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Mark V said:
You’re so right. I meant to use the term mixing. Motown is famous for the number of mixes created for some of its iconic songs (notably “Love Child,” which was meant to bolster Diana Ross’s stature to the point where she could strike out on her own).
It’s interesting to note that the mixes were meant to stand out on the radio; we can hear them in a different setting on the Complete Singles CDs, where their clarity is heightened considerably.
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bogart4017 said:
“edited and assembled by Robert L. Gordy”.
I love that credit. Makes you wonder what you’re missing.
Anyway the record didnt much impress me back then and rechecking the “Live in paris” Lp doesnt much change my mind. I’ll hang with the 5/10.
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Landini said:
I finally just heard this one. Okay performance – kind of fun for a couple of listens. But the best is definitely yet to come with the Boy Wonder!
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Kevin Moore said:
Oxymoronic as it seems, Stevie was something of a late-blooming child prodigy.
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(solo)diana-ross-don't-groove said:
O.K. ‘High Heel Sneakers’ is not exactly Mozart’s Requiem, but it’s fun and it rocks. For me, the way it makes the girl of my dreams shake her ass is worth much more than a poor 5/10.
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