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Motown M 1087 (A), November 1965
b/w The Touch Of Time
(Written by Barbara McNair, Ron Miller and Coleridge Taylor Perkinson)
Tamla Motown TMG 544 (A), January 1966
b/w The Touch Of Time
(Released in the UK under license through EMI/Tamla Motown)
From a standing start, in under seven years Motown founder Berry Gordy Jr. had gone from penniless ex-boxer to successful impresario, head of the year’s biggest-selling record label in America. But Gordy was now caught in a strange and unfamiliar position; unimaginably rich, critically acclaimed, and now widely credited as a civil rights torch-bearer to boot, there was no template for him to follow. As a successful black man in Sixties America – indeed, already one of the most successful African-American businessmen who ever lived – his peers, be it in the realm of financial or musical success, were overwhelmingly a bunch of old white guys. Motown might be the most successful label in America, and yet Gordy would never quite belong to the “old line” musical establishment.
The people who did belong – the ones who’d made their mega-money from records, before the days of rock & roll and the British Invasion at least – had done so with standards, old and new, sung by crooners and served up onto the gentle airwaves of white radio. Their artists weren’t necessarily white, but the material unfailingly was, or at least it sounded that way; a musical cycle system, feeding from Tin Pan Alley, looking to Broadway, looking to the Copa, looking to Vegas. Gordy had always wanted a piece of that action, and Motown had aimed for it right from the start, releasing their first servings of MOR material almost as soon as finances allowed.
As the money kept coming in, and as the “Hitsville USA” sign above Motown’s modest townhouse HQ became less of a self-important joke and more a statement of fact, the label could allocate better budgets for MOR sessions, and Motown began signing up established MOR performers, many of impressive stature. See Sammy Turner, Bunny Paul, Bobby Breen, Billy Eckstine, Tony Martin, not to mention the starchier leanings of the Supremes and Four Tops, or Marvin Gaye’s own multiple, failed attempts to swim in the same circles… and now, for the latest in the line, here’s Barbara McNair.
AND STARRING BARBARA McNAIR AS HERSELF
Ms McNair, who we’re meeting for the first time here on Motown Junkies, is one of the more fascinating characters we’ve come across so far in the Motown story. By the time she signed with Motown, she was already famous, a veteran actress and variety performer of stage, screen and TV, and even without the Motown connection her life would make for compelling reading. Here’s some edited highlights: she was one of the first African-American entertainers to get her own televised variety show (the unimaginatively-named The Barbara McNair Show), she flew to Vietnam to entertain the troops (striking up an unlikely friendship with Bob Hope in the process), her showbiz mogul husband was later murdered by the Mafia amid dark rumours of FBI involvement, and – if all this wasn’t interesting enough – she also became one of the earliest black women to pose naked for Playboy. Oh, and she also found the time to cut some records.
Perhaps only the first of those achievements is relevant to You’re Gonna Love My Baby; the variety show is in this record’s DNA, and if I don’t usually submit to the tyranny of genres, the arbitrary drawing of lines over what is and isn’t “soul” or “R&B” or “pop” or “jazz” or whatever, well, even without knowing the back story, this is a softer, more middle-of-the-road sound than the ostensibly similar stuff (in tempo anyway) which, say, Tammi Terrell or Brenda Holloway were cutting at the same time.
But if “maturity” is a notion which doesn’t necessarily always sit well with Motown, where youth reigned, where the oldest creative forces were in their mid-thirties, where even the big boss wasn’t yet 40, where the sales slogan was “The Sound of Young America”, well, this is still a very fine record. I did know the backstory, and I’d not enjoyed most of Motown’s previous excursions into this kind of territory, so I went into this expecting gloopy horrors in the Tony Martin mould, something to contrast with the grace and power of Tammi’s 45. Two weeks later, my fears remain unfounded, and I’m still whistling this to myself.
Effectively, what this record does – for the first time since Bobby Breen two hundred-odd sides ago – is play to the singer’s vocal strengths, letting them express their own style on something like their own home turf. It’s a show tune by any other name, but Miss McNair (who co-wrote the song, along with Motown’s MOR guru Ron Miller and the spectacularly named Coleridge Taylor Perkinson) is clever enough and experienced enough to know what to do with this kind of material, assimilating the style almost immediately, firmly asserting her starring role over the thickly-applied musical arrangement, and then spending the rest of the record (once she’s got the spotlight) bringing out the pain and nuance in the the intriguing lyric.
The second-person story of a woman addressing her ex-boyfriend’s new partner, wishing her well and emploring her not to make the same mistakes she did, it quickly becomes clear that the narrator isn’t over this at all; when she declares I still love him, for any slower-witted listeners who hadn’t got the subtext yet, we realise this isn’t even meant for the new woman to hear, that it’s a soliloquy, an unsent letter to be scrunched up once the narrator thinks better of it.
Vocally, it’s never less than interesting – if the style is dated to our ears (and I’ve no idea how it went down back in 1965), it’s also powerful in several ways, and as might be expected it’s certainly well-acted. Well-produced, too, with a pretty tune to go along with the Broadway aspirations of its singer and its arrangement.
All told, this is another fine launch record for another promising Motown talent in this most extraordinary of Motown years. It doesn’t entirely “fit” the musical narrative of Motown ’65 (though it fits the commercial behemoth narrative very well indeed), but there are some strikingly modern touches mixed in with the stagey setting, and I’m surprised it didn’t find more favour with buyers; it’s absolutely fine by me.
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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| Tammi Terrell “Hold Me Oh My Darling” |
Barbara McNair “The Touch Of Time” |
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I first heard this on Radio Luxembourg, late at night and loved it at once. I ordered it from a local record shop and waited for weeks before it was released. I was 16 and was already a long-standing Motown addict. I had never heard of Barbara McNair, didn’t know the history, didn’t know she was an older artiste. At the time, I would not have known what MOR meant and I was not then, nor ever have been, into show tunes. I heard ‘You’re Gonna Love My Baby’ as a soul ballad in the same field as the Martha and the Vandellas’ recent ‘You’ve Been in Love Too Long’ or some of the Supremes’ and Four Tops’ B sides and album tracks. I found the aching lyrics perfectly matched by the jangling music and slower pace. In early 1966, when the record was released in the UK, it was wedged between I Hear a Symphony and My World Is Empty Without You both of which were very different sounds out of Motown so I assumed You’re Gonna Love My Baby was another – successful – sound experiment. I didn’t understand then, and I still don’t, why this record wasn’t a huge hit. You’re score of 7 out of 10 is probably objectively correct, but for me personally, it’s another 10. Indeed, if pushed, I’d say it’s one of Motown’s most perfect recordings.
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I definitely agree with your description of the music “jangling.” Melodically, it fits right in with the folk-rock that was all the rage in 1965. Add some 12-string guitar and this could have become an attempt by Motown to cash in on that trend. Great song, Ms. McNair (whom I had never heard of before this song) nails the emotion of the lyrics perfectly. What really does it for me is that modulation on the “I still love him” line. A strong 7/10 for me. B
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I’m right with you on the score for this one. Very nice tune, good performance, great Motown production values, but not exceptional. I think one of the hurdles Berry Gordy was never able to overcome in getting mainstream white radio to accept his MOR-leaning releases was that he was so successful in crafting R&B records for white teen audiences that it was hard to view Motown in any other context. This was true even as Motown moved from the lamentable Tony Martin/Bobby Breen crap to the much better Barbara McNair/Billy Eckstine releases. The Motown imprimatur might have gotten this disc an initial listen, but I think it would have stood a better chance of success if it had been released on a more MOR-regarded label such as Capitol or Columbia.
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That is correct. Everybody at the time in mainstream USA thought that Berry Gordy produced “Soul Music”, “lightened” for a mass audience. They would have guessed that he would do the same with his MOR artists. That was basically true. The best Motown recordings from those artists were those that would have catered to the “softer Soul” fans, than to MOR fans. In addition, Motown didn’t have the connections in the MOR distribution and marketing channels, nor the knowledge of how to market music in the MOR field. In addition to that, Motown also didn’t put their full monetary push into marketing those releases. So, they never had a chance. I never heard ANY of Barbara McNair’s Motown releases on the radio. The only reason I knew of them was that I told my record shop and record distributorship worker friends to always inform me of every new Motown label release (regardless of music genre).
The only Motown MOR artist release I ever heard on the radio was “Thank You Love” by Billy Eckstine, and that was “Soul Music” played on a Soul radio station.
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I may well be wrong about this but I’ve always believed that in cases where the master numbers are consecutive, that the lower figure was designated the A side. If this is the case it would mean that You’re Gonna Love My Baby was actually the US ‘B’ side and maybe did not get the promotion, which, in my opinion, it genuinely deserved. Perhaps Robb could throw some light on this, although if he never heard any airplay for Barbara McNair that could be difficult. Quite clearly in the UK it was the designated ‘A’ side, but at the time of it’s release I cetainly never heard it.
It has of course become an anthemic slab of Motown and along with CHBrighton I think your mark of 7 is a little on the mean side.
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Thanks Chris!
A/B designations follow the lead of The Complete Motown Singles series. If a nominal B-side became a chart hit in its own right, it’s listed as “AA” here on Motown Junkies, even if (as happened on very rare occasions) the notional A-side failed to chart as well.
As for the record… I think that that “of course” at the end there is a bit of a stretch. I wasn’t aware it was held in such high regard, I don’t believe I’ve ever heard it out and about. I do like it a great deal, parts of it are excellent (the whole touch the sky now breakdown, culminating in that tearful, underlining “I still love him”, belongs in a Brenda Holloway record) but other parts of it are trite and flimsy, and I think Miss McNair cut better records and better songs than this one. 7 is still a good score though!
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My favourite is “Just One Teardrop (From a Broken Heart)” from “The Real Barbara McNair” album.
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In answer to Chris Forrest’s question about whether or not this was intended as The USA’s “A” or “B” side, I would guess that it was the “B” side, and the Jazzy “Touch of Time” was the “A” side. I like “The Touch of Time” much, much better. It’s a much better written song, and a tighter song, with a tighter treatment. Not to mention that it’s a lot more in Barbara’s natural style.
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Just heard this for the first time recenlty. Not a bad record. Miss McNair is obviously a gifted singer. I wonder if she would have done better recording for a more mainstream label. I am thinking of Capitol Records & Nancy Wilson. Anyway..
Does anyone else think this songs sounds a bit like “Don’t Let Me Down” by Kim Weston? Just curious.
Please keep us here in Maryland, USA in your thoughts & prayers. We are all a little shook up about that shooting at the shopping mall this past Saturday. It isn’t that close to where I live but still very sad & distressing. Am sad for those who died & their loved ones but am thankful it wasn’t worse!
Hope all have a good week!
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Just a bit of trivia: I’ve noted Coleridge Taylor-Perkinson’s name on a number of jazz albums by people like Max Roach, Roland Kirk and Donald Byrd as a vocal arranger when they used singers. So obviously Ms. McNair had a connection with someone of repute when writing songs.
In the 1960s, it seemed like Barbara McNair was everywhere on TV. Never heard this song at the time and figured even though it was Motown, it would be MOR. Was pleasantly surprised when I did hear it (on TCMS) but would only rate it a 5 or 6.
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Out of all the mainstream artists that Motown signed, Barbara McNair was the only one whose voice was totally suitable for the Motown sound. When I first heard this in 1965, I was unaware of her MOR credentials, and to me this has always sounded like the real deal. In fact this record is much loved and was played in London clubs until comparatively recently (and for all I know is still being played).
I love the melody and Ron Miller’s lyrics, which Barbara interprets impeccably. The record gets slightly bogged down by the strings in the middle, which is the only thing preventing me giving it a ten, so it’s a 9/10 from me.
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Totally off topic — but I just heard about the death of folk-singer Pete Seeger. Wow! Actually there is a MOTOWN connection as Martha & the Vandellas recorded “If I Had A Hammer” on the HEATWAVE album. Also, a non-Motown soul connection – Earth, Wind & Fire did a pretty cool version of “Where Have All The Flowers Gone”. Mr. Seeger also did a lot for Civil Rights. Really, just about any singer/musician from the last 60 years so (whether Bob Dylan or a rapper) owes something to Mr. Seeger. Also, a Roberta Flack connection. The guy who wrote “First Time Ever I Saw Your Face” was married to Pete’s half-sister Peggy – in fact the song was written as a love poem to her. Peter, Paul & Mary recorded an early version of the song.
All this so say that it is so easy (for me at least) to not realize all the rich musical heritage we have & how different types of music influence the music we may currently like. Anyway, I’ll get off my soap box! Hope all are having a good day!
FYI – I think a rapper should sample a Pete Seeger song! That would be pretty interesting!
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So, I had to look that up on youtube – and I loved it, but the search also turned up this tidbit – http://www.youtube.com/watch?v=8KLNwPppKTM – Marlene Dietrich singing Where Have All the Flowers Gone. Again, a bit off topic, but well worth a look! If anyone had ever told 17 year old me that 64 year old me would love bluegrass/country/Frank Sinatra/Tony Bennett, I would have laughed them right out of the room!
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I like Freddie Scott’s version of “Where Have All The Flowers Gone”. having been a “Ghetto child”,and having never listened to the “Pop” radio stations, i had never heard of Pete Seeger before 1963, when I was already almost an adult. I had heard some of his songs listening to records by The Weavers (his folk music group), while listening to 45s while searching for records. But, I didn’t like that folk style very much. But, after hearing “Where Have All The Flowers Gone” by Freddy, I loved the song, and bought it, and saw Seeger as the writer. I thought, “Who wrote that beautiful song?”. So, I asked people about Pete, and looked up hia biography, and learned about him. He has written some great songs, and I like his banjo and guitar playing, too.
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I was well aware of the lp this came from because you saw it everywhere you went. The retailers had to be “overstocked”. I knew who Ms. McNair was because you couldnt get away from her, with the show and tv appearances and all. However, i can’t remember ever hearing this record on the radio. Kids, i don’t think, bothered with it because the name itself lent itself to that “mainstream MOR” tag and soul stations didnt play the single because, really, who is going to connect Barbara McNair to soul music? So my guess would be that here in America that record was never going to find a home.
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She had two Motown albums (as we’ll be seeing soon enough!), but this isn’t on either of them. It’s certainly one of her more “soul-compatible” recordings – as commenters have said above, if you didn’t know who she was, there’s not that much of a yawning great difference between this and e.g. a Brenda Holloway or Tammi Terrell 45 – whereas the first LP in particular, Here I Am, mixes hokey old standards with covers of Motown hits and would have made a fine home for this agreeable halfway house of a record.
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It sounds like Barbara McNair had a kind of Aretha Franklin/Columbia situation in reverse. Basically, Miss McNair may have fared better on a more mainstream label. Her problem at Motown was not lack of talent, but it sounds as though Motown didn’t quite know how to best utilize said talent. On a label like maybe Capitol or Columbia she may not have had big singles, but might have sold more albums (like Nancy Wilson at Capitol). Though Motown could make great albums, their artists usually needed hit singles to go along with them.
Motown was a GREAT RECORD COMPANY but sometimes they could be a snare to certain artists. For example, The Spinners did some great records with Motown but didn’t find major crossover success until they moved to Atlantic. On the other end of the spectrum, Jerry Wexler confessed that they couldn’t really help Mary Wells at Atlantic because they couldn’t duplicate the “Motown Sound” that she needed to have crossover success. Interestingly, it seems like many R&B artists did well commercially at least, with either Motown or Atlantic but rarely if ever with both. Other examples are Wilson Pickett & the Temptations. Anyway, just one of my little theories. Would love to hear people’s thoughts on this. Happy weekend to all!
One more thing & I promise I’ll shut up (LOL!) I just watched a CNN special last night on the Beatles/Brit Invasion in the US (50 years ago!). For an hour long show, it was quite good. They had a lot of sound bites from different people & included Smokey Robinson & Nelson George to give a black perspective on things. Very well done!
I’m outta here.
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I don’t agree about Atlantic with Mary Wells. Her ATCO singles and album cuts were very high quality. Carl Davis’ crew of Barrett Strong, Sonny Sanders, Gerald Sims, et al, did a great job of blending their own “Chicago Sound” (which they used to resurrect Jackie Wilson’s career) with “The Motown Sound”, to take advantage of Mary’s talents.
“Dear Lover”, “Such A Sweet Thing”, and others are super songs that should have been mega hits. To start with, Atlantic dropped the ball in marketing her. They didn’t seem to know how to market her. Personally, I’d have placed her on the flagship, Atlantic Records. Secondly, I’d have had her go on tour with other Atlantic mega stars.
In addition, there was a major problem because of Berry Gordy’s policy to “force” his major distributors into not putting any push into her records by threatening to leave them if they did.
With Motown, Tamla, Gordy, Soul and VIP all having different distributors, Gordy virtually stopped Atlantic from getting any kind of push fromAtlantic’s current main distributors, and made it impossible for them to switch distribution of Mary’s product to a different major distributor (even if they had “dared” to break their contract with ATCO’s current distributor, or to move Mary to a new, subsidiary label, made just for her, to mover her product to a different distributor or several smaller distributors.
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“Halfway house of a record”? Oh, am i loving this!!
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I’m definitely surprised this wasn’t included on her “Here I Am” album. Definitely a fine record, reminds me somewhat of something Chris Clark might have done.
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“A very good debut disc from Miss McNair this, and could perhaps best be described as a dramatic finger-popper. The chord sequence build up is very interesting, and the story line is unusual and different. Only serious criticism is that the song flounders just a little mid-way, but as soon as it gets back in the chorus groove it’s fine again. Full-works backing with much obvious relish. 4/5
“Flip is similarly styled but more gentle, and has an easy charm that many will find irresistible. 3/5”
[Dave Godin, Hitsville USA 12, 1966]
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While I was initially surprised by your score, you view this from a critical perspective and I, for one, certainly appreciate the fact. There is a body of soul music fans in the UK. who still consider this to be one of the finest releases on the UK Tamla Motown label. It is still scorching dancefloors in 2021 and subsequently demands a very high price on the original vinyl. I am aware its initial impact was small, however, it was picked up by the ‘Northern’ soul (NS) scene during the early 70s as one of the first and best “beat ballads”. NS dancers love the emotional delivery from Ms McNair and, while I do not consider myself a fan of NS, I do enjoy her vocal.
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