Tags
VIP 25025 (A), October 1965
b/w Take My Hand (promos only)
b/w Something’s Bothering You (stock)
(Written by Henry Cosby, Gary Montgomery and Mickey Stevenson)
A couple of weeks ago, I read some criticism of this blog from someone I’ve never met, stating that I need my head examined because I hate all white artists who recorded for Motown, as well as most of the lesser-known black artists. Utter pish, I shouted, quite loudly. (Because it is pish, obviously.) But then I look back over the course of the blog, and I can see where they were coming from. While I’ve been happy to champion the cause of several little-known acts, it has to be said that for a lot of the more obscure would-be stars whose lives only briefly intersected with the Motown story – a group, of course, which contains a disproportionately high number of the label’s Caucasian signings – well, their obscurity is easily understood: often, they just weren’t really all that good.
And on that note, here come the Dalton Boys.
I love the way this one starts out; according to the liner notes for The Complete Motown Singles: Volume 5, these guys started out as a folk band, but I’ve Been Cheated is squalling R&B all the way. In fact, it’s even more of a blatant lift from the Supremes’ Back In My Arms Again than the Four Tops’ Something About You a couple of weeks ago: co-written by two of Motown’s top writers, this is as far from gentle folk as you can get. The drums and horns are the Funk Brothers through and through, and they drill the beat right down into the listener’s skull in fine fashion. Yeah!
But the song loses its nerve too fast; the lyrics are at odds with the weedy vocals, the chorus is limp, and the whole thing feels like a waste of an excellent band track. I want to like it, I really do, but it keeps annoying me, and it ends up as yet another substandard attempt to make an ersatz British Invasion record, just one more crappy Motown Merseyclone. Except now, we’re also wasting a fine Motown off-the-peg backing track that should by rights have ended up on a Temptations record or something, and instead finds itself the only holding up a shaky edifice like this thing. Damn it.
No, but really, what the hell is going on with these lyrics? The narrator – or narrators, as this sounds like more than one guy singing lead at the same time, perhaps in order to beef up the thin vocals in a primitive version of double-tracking – spend(s) the entire song alternately threatening their girlfriend that they’d better not leave and then calling her a no-good cheater. The message is mixed up – is this an angry break-up song, or is the narrator saying “okay, now don’t do it again please?”, or what? Either way, I’m not convinced she’s even listening any more.
Plus, whatever the message is, the Dalton Boys are too weak as singers to really get it over anyway. It’s not entirely their fault, the lyrical stresses and the vocal melody of the song are all messed up, which doesn’t help them at all (there’s an agonising bit where the Boys have to try and squeeze a multipart harmony on the words “be true to me” into a space where they just won’t fit, no matter how hard they’re shoved), and makes the song all-but-impossible to whistle or hum along.
But that’s not to say they’re absolved of their failings as vocalists, as they’re almost wheezing to keep up in places, to the point they sound taken by surprise at the pace and energy of the backing track. Most damningly, they sound neither sufficiently heartbroken to command sympathy, nor sufficiently tough to be making these kinds of veiled threats with disturbing undertones. It’s an epic misjudgement, and it renders the song profoundly unlikeable: the sound of some smug, preppy tool masking his humiliation, making himself feel big by belittling a woman.
Actually, what this is, I think, is the sound of Motown karaoke, the sound of grabbing some random bar-room singer and plonking him down in front of the Funk Brothers and recording the results. The blaring horn riffs, sax and trumpet trying to blaze right out of the speakers, and the belting drum track: those are excellent. They deserved to be used on a better record than this.
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 Dalton Boys? Click for more.)
The Four Tops “Darling, I Hum Our Song” |
The Dalton Boys “Take My Hand” |
DISCOVERING MOTOWN |
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Robb Klein said:
Even great tracks by The Funk Brothers couldn’t help these guts. I’d give this a
“1”, and it was probably their best Motown cut.
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MotownFan1962 said:
I expected more lyrically from Misters Cosby and Stevenson. The backing track is incredibly catchy, and the “be true to me” bit is semi-catchy, no matter how clunky it is. Still, I must agree with the 3. I’d go as far to say it’s a 2, but darn it, the Funk Brothers got me hooked, especially that grunting bari sax!
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MotownFan1962 said:
Actually, I take back my first statement. The lyrics are actually very clever (very few people can incorporate the phrase “I’ve been had” into a song and make it work), if not exactly clear on the message. I think the overall message is “treat me right, ’cause I’ve been true to you when I could have run around like you do; people even warned me about and said I should leave you, but dammit, I love you too much”.
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Landini said:
Not Dalton Boys or Motown related, but I cannot help commenting on the fact that Carrie Underwood (!) is starring tonight in a live TV production of Sound of Music. If anyone here is a fan of hers I mean no offense… but really! Carrie Underwood?????????? I weep for the future of music. Is this uh, production going to be televised in other countries? Again, no offense to fans. Carrie Underwood?????? PS — My secret fantasy has always been to star in a production of Sound Of Music in the Georg Von Trapp role!
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Landini said:
I didn’t watch Sound of Music but did see the part where Audra McDonald (the opera singer who play the Mother Superior) sang “Climb Every Mountain” & it was beautiful! John Plant – DId you watch it? Any thoughts?
FYI – Please know I did not mean to malign Miss Underwood. Critics were unanimous in that her singing was lovely & acting was not. I am sure Miss Underwood did her best & I mean her no ill will! If I played Georg Von Trapp I think I have the vocal chops to pull it off the songs, but I fear my acting would make Miss Underwood look like Katherine Hepburn! LOL!
To bring it back to Motown. Didn’t the 4 Tops do “Climb Every Mtn” on the Broadway album? Of course, Diana/Supremes did a pretty good “My Favorite Things” on the Christmas album. Peace & blessings to all my Motown friends!
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benjaminblue said:
You may be interested to know that Diana Ross and The Supremes also recorded The Sound Of Music; it’s on the There’s A Place For Us compilation CD, which documents some of the group’s forays into the Great American Songbook territory. A few of their efforts there, such as Mr. Sandman, won’t make you forget the definitive versions by others, but many are quite good. The Four Tops did perform Climb Every Mountain on their Broadway album; it also appears on their 1966 live album, recorded at The Roostertail, and it is the live version that is included on their Anthology CD.
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Landini said:
Nixon, how are you? I saw you posted on NO HARD CHORDS. I can’t believe everyone dissed the Buckinghams! I love “Kind of a Drag”. By the way I’m the George L who defended the song on that site. Hope all is well my friend.
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bogart4017 said:
Never heard of the song or the group but this was by far the funniest review ever!
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Mickey the Twistin' Playboy said:
Not great but certainly not the worst of Motown. There are worse from some of Motown’s biggest stars. The track alone is bangin! Again, not great, but not really deserving to be lambasted. Rating: 5/10
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144man said:
I think this track is quite pleasant. 5/10 seems about right.
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tomovox said:
I think this is a case of the wrong song for the singers. The music track is one of the dirtiest, gut-punching things to ever come out of Motown. The Marvelettes, Four Tops, Supremes, Temptations, Chris Clark, Kim Weston, Martha & The Vandellas could have proven equal to the task of meshing with this track.
The Dalton Boys really needed a much more melodic and less bombastic approach. Maybe Rick Witte would have been the better producer for the guys.
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tomovox said:
Darn if I didn’t go and get myself all wrapped up in both sides of this record. Maybe it was the pictures I found I have of these guys. Sure. Now that I can put the faces to the voices…or I’ve just devolved into a guy who makes Bad Choices in music. I don’t know but help me, I like this record. I REALLY like it.
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