Tags
Motown M 1088 (A), December 1965
b/w Spanish Rose
(Written by Brian Holland, Lamont Dozier and Edward Holland Jr.)
It comes to something when a wacky curio like Dr. Goldfoot and the Bikini Machine isn’t the weirdest Supremes-related single of the month.
White crooner Tony Martin, here making his third and final appearance on a Motown 45, was a star of the Fifties fallen on relatively hard times, picked up by Motown just a few months before things went stratospheric. His status as one of the loyal pre-Big Time “old guard” was a status granted on a technicality, Martin’s signing to Motown being more a case of any port in a storm rather than a mark of his belief in the little black independent label’s future prospects (no better illustrated than during a national TV appearance on The Tonight Show (!) in late 1965, when Martin, asked by Johnny Carson what he was doing for a recording contract these days, tactlessly shrugged off Motown’s throwing him a career lifeline, muttering he was tied up with “some little unkown label in the Midwest” and insinuating he was open to offers).
Still, it was a status granted nonetheless, and as a result, Martin was afforded more reciprocal loyalty than any of the company’s here today, gone tomorrow singings since the summer of 1964. It meant that even after two awful singles, the faintly creepy Talkin’ To Your Picture and the laughably pompous The Bigger Your Heart Is The Harder You Fall – a real pair of duds, complete flops both commercially and artistically – he was given the chance to cut a third. The eye-popping amounts of money the label had made since his arrival, in large part due to the success of the Supremes, made such largesse on Motown’s part a feasible play. Not just for sentimental reasons, either; Berry Gordy still hankered for a successful MOR act, a ticket into the whitest and wealthiest rooms of old America.
What’s really interesting is the choice of material. In a move which was either perceptive and bold or ham-fistedly inappropriate, this is a cover of a Supremes song (the B-side to Baby Love, in fact), meaning that right in the middle of perhaps the most incredible run of singles in Motown’s history, greatness piling up on top of greatness, we’re treated to the prospect of a 52-year-old white man in a lounge suit pretending to be Diana Ross.
Once the initial shock of seeing the one-time Alvin Morris singing a Holland-Dozier-Holland song has faded, you can sort of see the sense in the pick. Ask Any Girl, in its original incarnation, was an outlier among the Supremes’ better songs; originally intended for Kim Weston (and thus far outside Diana’s usual vocal range), then oddly chosen both as the closing track of the seminal Where Did Our Love Go LP and the opening track of its follow-up More Hits from the Supremes, as well as the flip-side of one of Motown’s biggest multi-million-selling international hits, it nonetheless deviated from the usual Motown template, bringing in a complex structure, an unusual time signature and unexpected flamenco influence.
Certainly it’s a song that, conceptually anyway, lends itself to an MOR reinterpretation in a more sophisticated way than the usual “slow it down 50% and slap on a string section” approach (although of course with source material as strong as Holland-Dozier-Holland were providing, that tactic could still pay big dividends – look to the aforementioned Miss Weston’s blockbusting Stop! In The Name Of Love for an example).
Motown’s West Coast studio here provides a suitably ersatz take on the Funk Brothers’ pummelling energy – there’s a sort of slightly sticky showbiz sheen on this which seems at odds with the demented staccato drive of the original. You’d expect Tony to be more in his element the cheesier the surroundings, but he’s as ill at ease as ever here; once the big dramatic intro/overture (which is admittedly well-handled) gives way to the drum beat and strident backing vocals, Martin quickly slips into a syrupy performance verging on self-parody, with lowlights almost too many to pick out. Nobody in the history of the world has pronounced the word “man” the way he does it the first time, full of faux-emotional baritone vibrato and unnnaturally-stretched syllables; his pronunciation of “slumber” is somehow even funnier, like a lumberjack warning of a falling tree; and his reading at 1:25 of “…and he’ll UN-der-STA-A-A-AND why… I sit! And CRYYYY!” is unintentionally hilarious, a stentorian movie trailer voiceover artist “singing” – reciting – his lines flat in character. It’s awful.
(Also, the whole thing just comes across as weird anyway – for whatever reason, while I could buy Diana Ross doling out this self-pitying rant, Tony Martin just doesn’t connect with the material in the same way. Perhaps it’s the age difference, or perhaps the ceremonial pomp with which Martin puffs up his part; where Diana seemed vulnerable and wounded, he merely comes across as a grown man acting like a petulant, self-entitled boy. Not tremendously edifying.)
But Tony’s hammy excesses, by now almost slipping into spoof territory, can’t completely torpedo a strong underlying song. It’s a pity the crazed flamenco of the original has been sacrificed in favour of a faster but also less-interesting style, and it’s true that the re-recording brings out almost everything I’d mistrusted in the Supremes’ rendition, but underneath it all, it remains a good tune; whenever Tony shuts up for a moment and leaves the band and the backing singers to la-la-la their way through the infectious horn-driven instrumental breaks, you’re reminded of the song’s fundamental quality. Of course, my saying the best part of a single is the singer’s absence is damning with the faintest of faint praise, but this still ends up being just about Tony Martin’s best single for Motown. Which really isn’t saying very much.
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!)
COVERWATCH
Motown Junkies has reviewed other Motown versions of this song:
- The Supremes (September 1964)
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 Tony Martin? Click for more.)
The Miracles “Choosey Beggar” |
Tony Martin “Spanish Rose” |
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. |
Landini said:
Oh my gosh! This is horrible!!!!!!!!!!! I was expecting bad, but not this bad! U are very kind to give this a 2. I listened twice in horror to this monstrosity! I am not completely sure but the background singers don’t sound quite on pitch. “Like an old souvenir?” Tony’s pitch is a bit wobbly itself. That happens when you add too much vibrato to your singing. The dude was 51 when he recorded it. I have to say that at 56 I could probably do a better job. Oh well!
LikeLiked by 1 person
144man said:
“Ask Any Girl” is my all time favourite Supremes record. A while back in the comments, I said that the second worst Motown record ever made was a Motown cover of a Motown song. Well, this is it. Tony Martin’s vocal style just sounds so wrong, wrong, WRONG, and this is compounded by comparing it to the original. Novelty records aren’t meant to be works of art, so their low ratings are predictable. This is a serious attempt at creating a commercial success, yet it even struggles to be worthy of my rating of 0/10.
LikeLiked by 1 person
John Winstanley said:
Never understood why Motown released this awful rendition of a good song unless it was to capitalise on the success of Len Barrys 1-2-3, a number 1 record released earlier in 1965 and which Motown were suing the writers for it’s similarity to “Ask Any Girl”. Perhaps there was a three single clause in Mr Martin’s contract. Eitherway, I would give this version a 1/10 at best and be grateful it’s the last we’ll hear of this artist. Good riddance !!
LikeLiked by 2 people
Dave L said:
As with “(He’s) Seventeen,” this is one of those moments to wish the board had an animated ‘vomit,’ ‘bang head’ or ‘scream’ emoticon.
LikeLiked by 1 person
Robb Klein said:
This is a really bad recording. I’d give it a 1 or 0. I really don’t understand why Berry signed Tony Martin.
LikeLiked by 1 person
Landini said:
Good question Robb. My theory? Martin was probably the “canary in the coal mine” for Motown’s MOR niche. I’m sure if Martin’s records had sold better, Gordy might have signed more MOR acts & possibly put them on a subsidiary label. Gordy, I’m sure, was trying to get as much bang for his buck as he could. Probably hoped that the buyers of Tony Martin’s records might take a chance on HELLO BROADWAY/Marvin Gaye or maybe SUPREMES AT THE COPA. Even further, some potential buyers might have seen a 4 Tops album without knowing who they were & thought they were getting a Mills Brothers style act (which the 4 Tops were to some degree in their pre-Motown days).
Gordy also courted a wider (or whiter!) audience by booking his acts at the Copa & putting them on the Ed Sullivan Show doing show tunes. Interesting that back in the late 60s, some snooty rock critics turned up their noses at Motown for this very reason. Of course, now rock critics fall all over themselves praising Motown & are all still very clueless about the music limiting the scope of Motown’s music to about 25 great but overplayed classics.
Another question to ponder… WHY DID STAX RECORDS SIGN LENA ZAVARONI?????
Interesting tidbit … Billy Eckstine recorded music for both Motown & Stax.
LikeLiked by 1 person
Dave L said:
When I was a kid, I used to wonder what all the missing Motown catalog numbers were when I factored in the order of Supremes, Tops, Spinners, Wells, Terrell and other known entities. As The Complete Motown Singles makes clear, I dodged at least as many stale helpings as I missed goodies.
LikeLiked by 1 person
144man said:
I hope Damecia finds a way to experience this travesty of a record. I can’t wait to hear what she thinks of it.
LikeLiked by 1 person
nafalmat said:
Everyone seems to be slagging off Tony Martin’s voice, but amazing as it may seem he was a very popular vocalist throughout the 1940’s and was still scoring big hits in the UK well into the 1950s. We all know Berry wanted to widen Motown’s appeal to include more mature audiences and as he wasn’t able to sign up any of the earlier crooners who were still getting bit hits at this time (such as Sinatra, Dean Martin, Al Martino, Sammy Davis, jr, Perry Como, etc) he had to make do with ‘has beens’ like Tony Martin, Connie Haines, etc. I have to admit Tony Martin’s voice doesn’t appeal to me but he certainy sounds better on suitable material like ‘The Bigger Your Heart Is’ which would have been a massive hit if Dean Martin had recorded it. Unfortunately, this rehash of the Supremes classic just doesn’t work, but in Tony Martin’s defence it wouldn’t have worked for anyone. The arrangement simply doesn’t suit the song and it wouldn’t have been much better if Marvin Gaye’s or David Ruffin’s vocals were on it instead. One of Davis and Gordon’s rare boobs and to think this same team produced ‘Do I Love You’ and ‘Together Till The End Of Time’. Amazing!!!!
LikeLiked by 1 person
Landini said:
Good thoughts on this & on the flip side. Unlike some of the other crooners, Martin seemed to go for (on many records) that vibrato laden faux operatic thing with his voice. It might have worked on certain songs but it an absolute disaster on this.
As I said above, I wonder if Gordy should have put Martin & the other more pop oriented acts on a specific subsidiary label other than the MOTOWN label. Oh well.
LikeLiked by 1 person
Landini said:
In my fantasy world, Gordy would have started a Motown subsidiary label called TOP HAT. That label would be for all the white MOR acts. Probably would have failed but whatever! Interesting tidbit. Gordy wanted Doris Day to record one of his first compositions called “You Are You”. Apprently, many decades later, Gordy sang the song to a bemused Miss Day. Happy Labor Day Weekend US friends!
LikeLiked by 1 person
The Nixon Administration said:
I’ve talked about this before, but it’s my belief that putting the MOR acts on Motown (and note it is only really Motown Records where this happens, not Tamla or Gordy or Soul) was a deliberate move to add “class” and exposure to the Motown name; if he’d set up something along the lines of your Top Hat idea, it wouldn’t have achieved that goal, and you might have had the likes of the Supremes, Marvin Gaye or the Four Tops clamouring to release standards albums on it, instead of the less prestigious “teen” label. Much better to use Motown itself as that vector, to flex your financial muscles – we’re Motown, we can afford to sign Tony Martin, we can afford to sign Billy Eckstine, we’re not just about a bunch of gum-chewing black kids from the projects.
LikeLike
Landini said:
Makes sense! That’s why I’m not in the music business! Best to you friend!
LikeLike
bogart4017 said:
Nooooooo! Say it isn’t so!!! I quickly started reciting Tommy Hunt’s hit record: Let me wake up tommorow and find it’s all a bad dream.
LikeLiked by 1 person
EmileJ said:
Love this site! I can’t believe I’ve only known about it for a very short time, but I’m very glad it’s been recently updated! Looking forward to future reviews.
For this song, I first heard it when it appeared on Motown Sings Motown Treasures. I hated it then, and over a decade later, I hate it just as much now. I have a memory from years ago (at least ten, if not more) of visiting a Motown messageboard (it may even have been on Motown’s website itself), and someone there described Tony’s performance on “Ask Any Man” as “Tony doing an impression of Cher doing an impression of Mister Ed.”
And that description has stayed with me all these years.
LikeLike
Ray said:
Just an off-the-cuff observation, but could this possible be the same “Tony Martin” that was mentioned on an episode of The Golden Girls when Sophia was upset with an acquaintance who wouldn’t give her a concert ticket? Sophia had thought the ticket was to see Tony Bennett (“Gladys you dumb botchagaloop, these aren’t for Tony Bennett, they’re for Tony Martin!”).
LikeLike
Robb Klein said:
Yes, it would have been the very same. Tony Martin was also an MOR Crooner-type, popular in the 1950s, like Bennett. Many elderly women in the 1970s and 1980s would have been the girls who swooned over Frank Sinatra, Tony Bennett, and Tony Martin as teenage girls.obb
LikeLike
Ray said:
Thanks Robb, I thought it would be. Actually I can imagine Sophia calling her friend Gladys a “dumb botchagaloop” if she played this record for her! LOL
LikeLike
Rockin' Ed Pauli said:
It gets even worse– Martin goes to “Dunghill” for one release and then…..to the country oriented CHART label out of Nashville- to do a version of Tennessee Turd Walk ( yes I know the real title but I can’t even stand the hit version by Blanchard and Morgan)
LikeLike