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Tamla T 54126 (B), November 1965
B-side of Don’t Mess With Bill
(Written by Stevie Wonder, Clarence Paul and Ronald Miller)
Tamla Motown TMG 546 (B), January 1966
B-side of Don’t Mess With Bill
(Released in the UK under license through EMI / Tamla Motown)
The recent slow pace of updates here on Motown Junkies has nothing to do with the music, and everything to do with my busy work and family life, but it’s interesting to see the effect it has on the actual project itself. Way back in the day when this blog was just an idle thought, I buzzed through the whole of the eight or nine volumes of The Complete Motown Singles that existed at the time and made some brief notes on the way through, which I go back to now and again when I come to revisit those songs to look at them properly. In my notebook from 2008 is a comment about Anything You Wanna Do which praises it for being “fun and confident and sassy”; listening to it now, more than five years on, I don’t think I’d call it any of those things.
This is a throwback in more ways than one. It had lain unused on the shelf for a year and a half by the time Motown dusted it off for use as a B-side here, but compared to the intricate, grown-up brilliance of the topside Don’t Mess With Bill, it feels more like four or five years.
The A-side had featured a lead vocal from Wanda Young, in such superb form she’d take lead on every Marvelettes single from here on in, displacing the group’s longtime frontwoman Gladys Horton. A pity in many ways, as – great though Wanda is – Gladys had a fine voice, distinctive and strong, lending the early-Sixties Marvelettes a particular sound; but here, the clash of styles is jarring, and Anything You Wanna Do sounds like the work of a much younger group of girls.
It’s an off-the-peg early-Sixties girl group number; it goes for the “sass” of the typical New York sound, but the lyrics torpedo that notion. Originally written for, and by, Stevie Wonder, the lyrics take on a troubling slant when put into the mouth of a teenage girl –
Oh baby, hold me, squeeze me, kiss me
Baby, do anything you wanna do…
Just say you’re mine and I’ll let you
Baby, do what you wanna do…
I mean, it’s possible this is a character study, but it seems more likely that this is meant to be played straight, that it’s meant to be a song of love and devotion. The problem is that it’s the kind of idea of “devotion” from an age before teen relationship advice moved on from holding hands and exchanging class rings, and the implications of the philosophy “just let the man do what he wants” are, well, troubling, like I said. I don’t impute anything sinister to it, it’s just an artefact of its creation – back in mid-1964 when this was recorded, Stevie Wonder was in a creative rut, turning in a whole catalogue of clunky, rough-edged songs which very rarely transcended the average, and it’s unlikely he, co-writer and producer Clarence Paul, or indeed the Marvelettes themselves saw anything wrong with this. Nonetheless, it makes it very hard (for me!) to listen with an unprejudiced ear; the difference between this and Forever, another Marvelettes song ostensibly on the same topic of submission (sung, beautifully, by Wanda, not Gladys), is stark.
Add to that the fact this sounds as artless and unpolished as the a great many early-Sixties Marvelettes cuts – the (misleading) appearance of distance between this and Don’t Mess With Bill extends to the ages of the girls themselves, so much so that you’d swear more than eighteen months separated the two sides – and the overall impression isn’t great.
But despite all of that, there’s still some enjoyment to be had from this, if you can tune out the bothersome lyrical conceit. The band are having fun – in particular, there’s a muted, low-key but enjoyable sax part which raises the bar – and it is always interesting to hear the early Marvelettes in full flow, however lumpy, exchanging harmonies and handclaps. They were usually good, at the end of the day, and Gladys gives the ropey lyrics a splendid delivery; it’s not their fault Motown, and the world, had moved on.
It’s just hard to get over the feeling that this is a step backwards (which, obviously, it is, chronologically speaking at least); the A-sides Motown chose to close out 1965 are among the best in the company’s history, but the choice of flips is much more erratic, and this is a prime example. Coming up in the middle of a run of greatness, given the heights we’ve just crested, well, to call a record pretty stupid but quite good anyway somehow feels even harsher than usual. But here we are.
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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The Marvelettes “Don’t Mess With Bill” |
Earl Van Dyke & the Soul Brothers “The Flick (Part 2)” |
DISCOVERING MOTOWN |
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The Nixon Administration said:
Who is the “Sims” listed on the label credit? Obviously it was later either amended or corrected – the song is registered as having been written by Wonder-Paul-Miller – but I’m wondering who that was to start with?
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nafalmat said:
Strange how Motown often got their writing credits mixed up. This certainly doesn’t sound like a typical Ron Miller composition but as this is a collaboration with Paul and Wonder, who can tell. We’ll probably never know if Sims was indeed a co-writer or it was just a mistake on the label. I can’t off hand think of any other credit to a Sims on a Motown record. However, this conflict on writing credits occurs often on Motown singles. Three that immediately spring to mind are “Greetings” credited to a P.Bennett on the Valadiers single, but to Brianbert, Dunbar and the Valadiers on the Monitors version: “I want my baby back” credited to Fuqua on Stevie Wonder’s version and Whitfield, Grant, Kendricks on Edwin Starr’s single: “Don’t stop loving me” credited to Stevenson, Hunter on Ruffin’s original single but nowadays credited to Duke Browner.
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144man said:
It was possibly Jerome Sims, who co-wrote the Hornets’ “Give Me A Kiss”, three unreleased tracks by the Creations (Flowers for My Madam; Heart to Heart; Little Old Me) and the unreleased Shorty Long track, “Love Is Gone Again”.
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Robb Klein said:
And Sims may have sold his writer’s share of that song’s credit to Ron Miller, for needed cash. A LOT of songs’ credits have changed in that manner, many years after they were written.
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nafalmat said:
Although this is no classic, I’ve always enjoyed listening to this recording. The melody is instantly memorable and it has uplifting quality to it. The girls sound as though they had a good time recording it. It gives me a lift listening to it anyway.
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Mickey The Twistin' Playboy said:
I never liked this track until it was released on CD. The vinyl release doesn’t do it justice. Not one of their best B-sides, but not one of their worst either. After Deliver the Singles came out, I started liking it better. I like Gladys’ vocal on it. On a good day it’s a 6.5/10 for me.
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Landini said:
Nixon, I agree with your assessment of this song. I thought it was interesting how Motown would put older songs on the b-sides of their singles.
I know that coming up there will be “I Think I Can Change You” on the flip of “Hunter Gets…” Also these :
Time Changes Things / Forever Came Today (D Ross/Supremes)
Wherever I Lay My Hat / Too Busy Thinking (Marvin Gaye)
Me & My Lonely Room / End of Our Road (Marvin Gaye)
Sometimes an old album track would wind up as an A -side
Shoot Your Shot – Jr Walker (from Shotgun album in 65 / released in 67)
Most famous expample – Tears of a Clown (67 album / 1970 single)
Can anyone think of others (old album trackes released later as either A or B sides of singles?
Happy Passover and / or Easter to all!
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Damecia said:
It is funny how you can love a song for a period of time, but after years of not listening to it, you have different views. I love your back story commentary Steve = )
This song didn’t cut it in 1964 I’m sure, and it definitely doesn’t cut it in 2014 lol.
This is a heartbreaking follow-up to such a cool, sexy A-side, but it is very important and significant because it shows the drastic growth the group had experienced.
Kinda boring, kinda not good….yeah it deserves a 4 lol.
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MotownFan1962 said:
This song sounds like something a Brill Building girl group might have recorded (i.e. The Cookies, The Chiffons, The Angels). But ya gotta love Gladys Horton. She could’ve sung a song calling me every bad word in the English language and I’d still enjoy it.* It’s that voice – that smoky, gritty contralto of hers.
* only a hyberbole, but you know what I mean
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Damecia said:
I agree with you MotownFan1962 this does sound like something a Brill Building girl group would’ve recorded.
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Dave L said:
Yeah, it’s clunky, but I’ve never been able to bash it. “Bill” was so good, you knew in a listen this side was no part of any new direction, and maybe Smokey didn’t have a second thing ready recorded around the time of “Bill,” so I’ve always given it a break that way. In retrospect too, I’m glad the b-sides of most Marvelettes singles continued to feature Gladys till the time she’s gone.
I like “Anything’s” verve and energy, that “I’ll make a deal with my heart to never love no one but you-refrain, and the already mentioned sax, which is good. I’ll climb to a 6 here. This one is sort of in the category I hold “Too Strong To Be Strung Along” and “My Daddy Knows Best”: hardly the great songs the group deserves, but they still don’t spare effort trying to make it a good record.
But we know some things now we didn’t know then, and I’d be the first voter to send “Anything,” “Paper Boy,” or “I Think I Can Change You” to the circular file now that we know “Knock On My Door” was sitting forlorn and loveless on a shelf inside Motown!
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Landini said:
Awww Come on Dave! I like “Paper Boy”! You should see me driving down the road when I have the CD in & it comes on & I sing along! LOL! All the best to you my friend.
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Dave L said:
That’s me in the car behind you bellowing, “you’re a living dream boy/ want you come over here boy/ want you knock on my door…. š
The good news is, they both exist for each of us to lavish devotion to. Those, and silly little “Anything You Wanna Do” too. We’re good, Landini.
It’s just over three years already, and I still remember that quiet January morning when we learned Gladys had passed. In Virginia we had a fresh half-inch dusting of snow and it seemed appropriate along with the cold. It wasn’t a total shock, as word had been around how seriously ill Gladys was. It was, and still is, a peculiar feeling to lose someone you never met, and yet felt such a deep and long-lived sense of gratitude toward. Again, may she rest in peace.
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bogart4017 said:
“Throwback” is a perfect word for it since i would group it with all those songs cut before “Too Many Fish In The Sea”.
It might score a little higher if you close your eyes and picture The Dixie Cups singing it.
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144man said:
Good call; I can definitely imagine the Dixie Cups singing it.
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MotownFan1962 said:
Me too. It fits their style to a T.
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Mike C. said:
Ah, the “A” side was king. But, like Kirchner and the creation of Dimension records, the mechanical royalties were higher if both songs of the single were published by the same publishing company.
Me too, Motownfan1962, Gladys can sing for me any day.
I wish Gladys had of worked as a demo singer for Carole King. Oh Gladys singing her demoed songs. I’ll make a deal with MY heart…..
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Damecia said:
Wow, never knew that about mechanical royalties.
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Mike C. said:
Interesting thing about the day of 45s. Think about it. That āBā side sold just as many copies as the āAā/hit side and the writerās/publishers were paid for that number of copies sold. An interesting place, for me, lies in the supreme brilliance of the astute business woman Petula Clark and company were in her hey day. 9 times out of ten one of her songs was on the āBā side of her released āhitā singles. Quite a good contract she mustāve had.
Who knows how Motown did it or paid. ??? Seems like everyone sued Motown for back royalties at some point or another. Whew.
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Damecia said:
Wow, I didn’t know that about Petula Clark, but that was a great business move. It really does pay to be not only an artist, but a writer as well.
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MotownFan1962 said:
I’m currently imagining Ms. Horton singing “Just Once in My Life”.
Just once in my life, let me get what I want
Boy, don’t let me down…
Dreams are fun.
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Mike C. said:
LOL! I play dream A & R song plugger all the time too. Who I think should record this or that song or who shouldnāt have and then I fill in the blanks.
Off topicā hope this is okay here ā but what a great Carole King song choice. Youāve made me go and dig out the demo! Only to remember that CKās demo version was released last year on āThe Legendary Demosā, readily available. I hope you have heard it.
Off the top of my head for Gladys I pick āIāll Love You For A Whileā. (Did Dusty record that one? I know Jill Jackson did) or some of the Little Eva stuff like āIām Just A Little Girlā or . . . . how ābout Cookies āSoftly In The Nightā as The Marvelettes ? . . . or . . . . . .or. . . . : )
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MotownFan1962 said:
I have heard Carole King’s demo of “Just Once in My Life”. Ms. King’s harmony vocal reminds me of Wanda Young’s performance on “I’ll Keep Holding On”. I think “Just Once in My Life” would have made a great Marvelettes song with Gladys doing lead and Wanda doing harmony. It would be interesting to hear what they would have made of the call-and-response section (“I’ll work hard!” “Everyday!” “All my life!” “If you’ll say…!”) And of course the ever-talented Andantes assisting Katherine Anderson with the background vocals. Absolutely angelic. Oh, the roads not traveled…
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Mike C. said:
Yes! A Road To Nowhere!
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MotownFan1962 said:
Nowhere to run, nowhere to hide. Couldn’t resist.
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