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Tamla T 54129 (A), January 1966
b/w When I Had Your Love
(Written by Smokey Robinson, Pete Moore, Marv Tarplin and Bobby Rogers)
Tamla Motown TMG 552 (A), March 1966
b/w When I Had Your Love
(Released in the UK under license through EMI / Tamla Motown)
MANY things about Marvin Gaye are endlessly fascinating to me; I’m talking about both his life story and his work. (Obviously, on this blog I mostly discuss the latter, which from here on in is pretty much universally excellent, rather than the former, which is also uniformly interesting but not always relevant to what’s in the grooves.) Anyway, this single is maybe his most interesting to date, and for a number of reasons.
Looking at where Marvin stood in relation to the rest of Motown in 1966, it’s also a stark reminder of just how many threads there are to keep track of (especially when I’m trying to corral them together for a blog!). By the mid-Sixties, Berry Gordy’s scruffy little indie label had become a national and global phenomenon; for all the amazing, enduring hits that came out of that little building on West Grand, it occurs to me that Gordy’s biggest achievement might just have been to keep the whole thing together, to hold the centre while all these different Motown stories spun around in their various orbits.
Any one of the narrative threads on this blog over the coming months could be considered, in isolation, to be the story of Motown 1966. You’ve got the continuing domination of the Supremes, the rise of the Four Tops to match them, the glory days of the Temptations, the unstoppable ascent of Stevie Wonder, the beauty and genius of Smokey Robinson and the Miracles, the traffic-stopping brilliance of Martha and the Vandellas… and, yes, the swagger and soul of Marvin Gaye. All of them define Motown in 1966, which means, alone, none of them do; for a period of about a year and a half, Motown somehow managed to defy the music biz truism that a label’s attention spread wide is a label’s attention spread thin. And if there are losers in this Motown Golden Age, the likes of the Marvelettes, Velvelettes, even Martha herself – it’s still remarkable how much of a unified front Motown put forward. Instead of disintegrating, somehow, it all hangs together – just barely! – as one glorious whole.
One of those aforementioned things about Marvin Gaye that I find endlessly fascinating is watching him reconcile the various parts of his personality in the same way Motown were trying to reconcile the various acts that defined the Motown Sound. I know I’ve talked before about the battle for Marvin’s creative soul, and for me, this is a key stage in that battle, as well as being a flat-out great single. Just as there are many Motown stories as we begin 1966, there are many Marvins to consider too whenever one of his records comes up for review: there’s the sensitive old-school crooner, the hip-shaking pop star, the radical social poet, the smouldering sex symbol. And, yes, the drugged-out husk of his later years, which (thankfully) are still quite a way away here on Motown Junkies, but whose roots can still be seen even from this distance.
So. On the face of it, One More Heartache falls squarely into the pattern set by Marvin’s previous 45 effort, the startling Ain’t That Peculiar, another sinuous groove, another finger-snapping uptempo beat, another showcase for Marvin’s remarkable vocal range, including his undervalued falsetto.
And, yeah, it is all of those things; Motown, as we’ve already discussed many times, were never averse to following up one big hit with something that sounded ostensibly similar. Here, the same writers – Smokey Robinson and several of his Miracles bandmates – come up with the goods once again. Motown in 1966 must have been like a Tin Pan Alley hit factory, genii writing to order, with not only Smokey but also Holland-Dozier-Holland coming up with more great ideas than they could use, pumping out enduring classics in a seemingly endless stream. Marvin Gaye, himself no slouch with a pen, was nonetheless lucky to have writers like this providing such good material to let him be, well, Marvin, whatever that meant on that particular day of the week.
But Smokey being Smokey, and Marvin being Marvin, this one takes the basic blueprint and gives it a twist. And I mean that in a literal sense – One More Heartache sounds as though someone took hold of Ain’t That Peculiar and somehow physically twisted it, wringing the very music itself into an odd new shape, a bit scrunched up but also more interesting.
Where Ain’t That Peculiar was as much of a rollercoaster ride as this one, it still had a readily-identifiable chorus to grab onto, which no doubt helped propel it to the top of the R&B charts. But One More Heartache doesn’t really have a chorus. Instead, it just builds up and up until the listener expects one, a net of incredible vocal harmonies climbing towards the sky, ready to swoop back down and deliver the coup de grace with some pop magic… and then sends Marvin off on his own to explore whatever weird musical landscape they’ve just stumbled upon.
(Also, in truth, the three-year gap between me writing these things has made it really hard to ignore that you could theoretically cut and paste the chorus from Ain’t That Peculiar right in there and the song would still work, musically if not lyrically; try it for yourself, pause the song after those heavenly aaaaahs and see how easy it is to slip into singing …”Ain’t that peculiar!” right after. But that’s hardly a crime, not around these parts, and especially since Ain’t That Peculiar is such a great tune in the first place. But I digress.)
All of that brings me back to what I was talking about earlier. Both this and Ain’t That Peculiar are great records – in fact, if pushed, I’d probably plump for this one over that one (it may be groovier, and for sure the lyrics are less specific) – but they’re also odd, in a way that doesn’t quite match up to either Marvin’s own conservative tastes or the sexy swagger of his crafted public image.
These aren’t songs for a teen pop icon. If anything, they’re anti-pop songs, in the sense of “pop” as Marvin spent much of 1964 bristling against, the idea that he was to be presented as some sort of manufactured empty-headed poster-child. (And bear in mind, these two singles were co-written by one of the greatest tunesmiths in the history of popcraft, so I find it hard to believe that Motown couldn’t have given him something prettier and more conventional if that had really been their plan.)
I know this sounds as though I’m dissing the record, when really I’m not; rather, I’m very impressed that Motown either encouraged or at least tolerated Marvin Gaye, surely a contender for the role of Face of Motown in its biggest year, taking risks like this. One More Heartache is such a weird hit single – and it was indeed a hit, albeit not scaling the heights of its predecessor – but it rewards adventurous listening, especially when on The Complete Motown Singles Volume 6 it’s nestled next to two straight-up pop smashes from Motown’s top two male vocal groups (of which more in the coming weeks).
So let’s talk for a moment about how awesome this record is. It’s really quite remarkable; I’m not sure Marvin has given a better vocal performance than this in all our encounters with him here on Motown Junkies so far, one minute a growling complaint, next an angelic plea. I don’t just mean “performance” in that he sings beautifully – which he does – but also in that he inhabits his part so well, always in perfect sync with the lyrics to the extent that I have to remind myself he’s playing a role, that he didn’t even write them.
The lyrics, presenting Marvin’s paranoid narrator as a frustrated man (in many senses) so unsure in his current relationship that he either fears, or warns, that it’s about to collapse if just one more thing goes wrong. (And how great is that use of “more”, Smokey telling us the entire story of this couple in just one word, implying a whole litany of past screw-ups that we never even get to hear about?)
It’s all deliberately non-specific, to the point that while Marvin’s narrator is on the verge of actual physical pain over all of this, he never really describes what’s wrong, what kind of “heartache” it is he’s warning us about in any detail, instead just listing off a bunch of things that are similarly close to spectacular collapse; it’s impossible to listen to this and not remember some of the imagery, so strikingly unlikely in a pop song:
Like the house that’s built from toothpicks
Stacked upon the kitchen table
One last toothpick tore it down
The foundation was not able…
(Not “stable”, which might make more sense written down, but “able”, which sounds as if he’s about to continue the explanation – was not able to what, hold it together? – and instead he just tails off into frustrated mumbling – oh, baby, oh I can’t take it, babe I can’t stand it – again, there’s an undeniably sexual edge to all this, a kind of frisson that lacks an outlet for release. A glorious chorus might have done the trick, but instead, like I said, there isn’t really a chorus, more a repeating riff, a groove in a loop that heaps frustration upon frustration.)
1966, pound for pound, is probably Motown’s greatest year in terms of classic hit singles. If this isn’t really one of them – it’s too weird and too obscure to truly stand with the label’s best – well, it’s still fantastic. And weird. Don’t forget weird. Marvin’s life story was a fascinating patchwork of weird, unbelievable things; here, his musical story treads the same odd pathways, and the results are a strange, groovy trip, but a trip which still compels you to get up and dance. I love it.
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 Marvin Gaye? Click for more.)
The Isley Brothers “There’s No Love Left” |
Marvin Gaye “When I Had Your Love” |
Lord Baltimore said:
Here I was, all of 6 years old and Motown had been nurturing my musical identity for over a year. “One More Heartache” was the hit of the week or so it seemed to me, even though Motown was posting ridiculous numbers of charted records by the first week of February 1966. I didn’t always know the name of an artist or the title of a record, but I would be transfixed when certain songs would play on the radio. In this particular song, the chorus/bridge (Iiiii……..Iiiiiiiiiii……!) coupled with those chord changes contained an energy that was irresistible! My parents had the single “Ain’t That Peculiar” so I knew who Marvin Gaye was, but they never bought this song. I never forgot that part of the song and years later when I attended college an upperclassmen let me borrow his Marvin Gaye “Anthology” set. Having listened to “The Motown Story”, I looked at the titles but only seemed to recognize maybe 10 songs. I began to play the tracks I didn’t recognize and a flood of memories came rushing back to me…I remembered virtually every song!!! Hearing “O.M.H.” again after all that time made me change my scope from collecting only Stevie Wonder records to all of Motown. On a trip to New York City at the end of that spring semester I found a oldies record store in the phone book and traveled to Greenwich Village to purchase “One More Heartache” and “Nowhere To Run” and it was off to the races with the Motown collecting! So yes, this song had a profound effect on my musical development. Although this song is a “10” for me, realistically a “9” is fine.
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Rhine Ruder said:
so glad to have you back, and twice as good to know we will be reading some new reviews in the near future! i agree with your critique here, but i hope you don’t limit high scores because a song is too weird or too obscure! remember marvin’s “love starved heart” wasn’t even released!
waiting to read more in 2018!
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MichaelS said:
Your insights are as sharp as ever for which all of your readers are appreciative. An excellent analysis of a truly “weird” yet spectacular Motown recording. It’s definitely in the 9-10 zone. You’re correct that 1966 was a banner year for the company. I’m anxiously awaiting your essay on what is probably my favorite Motown recording of them all, hopefully, coming up very soon. Best regards!
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russh29 said:
Were it not for the outright brilliance of “Can I Get A Witness” this would be my favourite Marvin Gaye single…I regularly play both sides when I’m DJ’ing as they are both great dancers…and yes this one is weird as you point out, but that just adds to its appeal for me…for the first time you’ve probably marked a record a shade higher than I would…it’s definitely getting a spin next time I’m behind the decks…
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Cheryl said:
Well written! Thanks for the trip back this a.m. your comments are 100%
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nafalmat said:
Maybe not quite as brilliant lyrically as ‘Ain’t that Peculiar’ but nevertheless a worthy follow up to that ‘corker’ of a recording. The scintillating arrangement, catchy guitar riff, probably courtesy of Marv Tarplin, and Marvin vocals are really what carry this off.
As a completed record I’d mark it in the 8 to 9 range, but as a song alone about 6.
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144man said:
Definitely in the same musical groove as “I’ll Be Doggone”, “Ain’t That Peculiar”, and the still-to-come “Take This Heart of Mine”.I love those three records but somehow, I’m not too keen on “One More Heartache”. Maybe it’s the “heavenly aaaaahs”, maybe it’s this particular Marv Tarplin guitar riff, which wouldn’t sound out of place on a rock record. I feel I ought to like this record, but I simply don’t really know why I don’t.
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Ross Malloy II said:
This record is a weird one for me. I adore “Ain’t That Peculiar” and I love this record for most of the reasons I love its predecessor. Still, it’s hard not to feel like “Heartache” is simply a slower and more pessimistic rehash of “Peculiar.” Of course, every time I hear this song, I am enthralled. In the end, if “Peculiar’s” a nine for me, I’d give this one an eight. What’s in its grooves count for sure.
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treborij said:
First of all, Nixon, welcome back again. I was beginning to worry you’d never get to this record . So near, yet so far. But glad you did and love your take on it.
By the time of this record, I would go to my local record store, plop down my 79 cents and buy a Marvin Gaye recored unheard. (Hey, I had a pretty good paper route so I could afford to buy a record or two unheard if I liked the artist.) Got it home, trooped down to my basement lair, put it on and was scared out of my mind. What was this record? It was really weird (as you so sagely note). That sax solo was unlike anything I’d heard. Yeah, Marvin sounded a little desperate. Surprised that it was a Smokey production. I didn’t know if I liked it. Went away from it, came back, listened, still not sure. It took a 15 year old kid about a week to come to grips with its oddness, its unique sound (really murky and menacing compared to Ain’t That Peculiar’s clarity; its lyrical strangeness.) But eventually I found it and it now occupies a top spot as one of my all-time favorite Marvin records.
It’s a 10 in my book.
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Ken said:
Am luxuriating in your new post. Reading it, I feel like a plant that’s being watered. So nice to have you back – and (as ever) in glorious form. I like the sense of reckless danger this record conjures up. But I’d probably give it an 8. Off the top of my head, I’d award 10’s to quite a few Marvin singles – “I’ll Be Doggone”,”Ain’t That Peculiar”, “Baby Don’t You Do It” “I Heard It Through the Grapevine” plus several of his duets (“If This World Were Mine” and “You’re All I Need to Get By” come to mind immediately).
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Tomovox Myers said:
For me, what makes this record truly remarkable is how dangerously close to working-man’s, blue-collar, down-in-the-dirt blues this tune is. This is the blues most kids of the Motown Generation were actively avoiding because it was the music of their parents who escaped from the Southern U.S., trying to find hope in the North. This was the music of those Southern states that was not at all about hope. Motown was a shiny new world awaiting the kids of those folks.
When I first heard this, it simply scrambled my head in a million ways. It sounded like the Blues my own Dad loved so much, but there was something new here: 3 o’ clock in the morning jazz club colors with an astonishing Motown beat; and even then, it wasn’t any kind of Motown I was used to. If music could be described in colors, this is BLUE. You also have to hear the stereo mix to appreciate how egg-shell fragile this all is: one channel is all hot, sexy, sweaty, funky, gut-punching percussion, while the other channel is all contrasting whisper-soft sounds. The best part is just before the chorus where the Andantes do those heavenly “ahhhhs” you wrote about: The drummer crashes, CRASHES down on the cymbal (and there is an incredibly lengthy sustain on that cymbal) and that underscores Marvin’s anger boiling over. However, on the other channel, you get a gentle vibraphone balancing the harsh sound of that cymbal crash happening on the other side of town (and it’s that gentle chiming sound that mirror’s Marvin’s gentle falsetto as he’s singing “I-I-I-I-I, I–I-I-I-I-“)
I could go on about this record but you’ve written such a fascinating and perfect review, I’m going to be satisfied that you allow us to get our two-cents in and I’ll stop right here.
SO GLAD TO HAVE YOU BACK!
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papaman46 said:
Back to my Motown Magic compilation from 1966. What an album and what a track. You’ve done us proud again, Nixon. Agree with your 9/10 too.
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nafalmat said:
One interesting point that maybe worth mentioning is the version of ‘One More Heartache’ on the mono version UK release of Marvin’s Greatest Hits album TML11065 has a completely different recording of this song to any other I’ve heard on any other record or CD. It is not a different mix as Marvin’s vocal is completely different, in fact he sounds rather laid back and indifferent on this version. The backing track is also different and sounds weaker and slightly muffled. This version is only on the mono version of the album. The stereo version, STML11065, is the usual recording. I’m not sure whether this was corrected in later pressings of the mono album as the version I have was bought just after its release in March 1968 and has matrix/stampers -1 G indicating first pressing. As I have never had a copy of the US mono version of Marvin’s Greatest Hits, T278, I wonder if this also has the different recording of ‘One More Heartache’. It may be a cock-up by EMI who may have used the wrong recording of ‘One More Heartache’ when assembling the album as it had a different track listing to the US version. If so they may have corrected in on later masters as the album was available in mono until late 1970. Is anybody else aware of this anomaly?
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Lord Baltimore said:
I am in deed aware of the version you’re talking about. I purchased a used mono copy of “Moods Of Marvin Gaye” many years ago and determined this must be the pre-single release of this song. I can see the reason why the decision was made to pull this version and replace it with the take that eventually released as the 45 rpm version – it lacks the intensity/urgency of the re-take. I have posted the original take on my Youtube channel but I am unsure whether it is available in the U.K. – https://www.youtube.com/watch?v=OAst3eIogNY
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nafalmat said:
Yes, your Youtube upload is the version I’m referring to. I didn’t realise it was also used on the mono version of ‘Moods of Marvin Gaye’ as I’ve only owned stereo versions on US Tamla and UK Tamla Motown which both have the familiar take. This was probably a mistake by EMI when they mastered the UK mono version of Marvin’s greatest hits. I’ve always thought Marvin sounded a bit under par on this take.
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Double O'Soul said:
Welcome back. The one benefit of the gap between posts is that it allowed me to catch up! You hit the nail right on the head about Marvin Gaye — I always got the impression, even on him most successful songs of this era, that he was pushing back against everything that Gordy was trying to mold him into (the fact that Gordy was correct is irrelevant, I guess). Sort of makes Marvin’s “breaking free” with What’s Going On even more poignant ….
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144man said:
“Marvin Gaye is still in that lively and bouncy groove of his last hit, and this is a shuffle-time all action number penned by the Miracles and tailor made for Marvin’s easy and cool style. One of the best he has ever made I reckon, and should spiral up all charts in record time. 5/5
“Flip is stronger than usual, and has all the characteristics that we have come to expect from Marvin. Very good. 4/5”
[Dave Godin, Rhythm & Soul USA 1, 1966]
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Dave L said:
For an 11 year old, it was getting to the point where every dispensable dollar that could be scrounged went entirely on Motown material. That’s how fast good stuff was coming. Marvin’s “Heartache” didn’t wait weeks to join the Isleys, and itself be joined “Shake Me, Wake Me,” “Get Ready,” and Kim’s “Helpless,” just to name some.
These musical ‘friends’ had proven themselves so reliably good by this stage, it was routinely love at first listen, and I didn’t have a dime left to squander on whatever other things a kid longed for at that age. On this matter, senior citizen status has taught me no cooled reasoning: while waiting for this review, I ‘celebrated’ by adding an unneeded mint-minus copy of Tamla 54129 to my collection. 🙂
Oh Nix, so very, very glad you’re back 🙂
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Dave L said:
Jumping up and down. 🙂
Just found a previously owned Gaye Greatest Hits Vol. 2, Tamla 278 in mono(!) from September(, very good plus for twenty bucks and some shipping. Did I hesitate? What do you think? 🙂
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Dave L said:
I hate when that happens. Well, I wasn’t done.
From September 1967, carrying all Marvin’s solo singles from “Try It Baby” to “Your Unchanging Love,” and including this one. 🙂
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johnplant2015 said:
What makes this song so extraordinary, so bracingly bleak, is (among all the other things you mentioned in your terrific essay) that it’s unremittingly in the minor – the ‘choruslessness’ gets an extra bite by the omission of the expected major chords during that ‘heavenly’ ascent just before the non-chorus – you climb up a staircase of minor chords and then get dropped abruptly back into the basement. This song is a ten for me, perfect and perfectly scary, from the basement of the bass to the backup-singers’ Sisyphean (sorry, but that’s what it makes me think of!) roller-coaster, with that unbelievably plangent voice riding the whole thing. A joy to have you back, Nixon!
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Dave L said:
Yet more good luck. For a mere fifteen bucks, I’ve just gained a white label, DJ copy of The Marvelettes’ Sophisticated Soul album, TM-286 from August 1968, which makes it the furthest-into-the-sixties Motown album I own in real mono and from the era when it was genuinely new. 🙂 Six(!) singles: You’re The One, My Baby Must Be A Magician, Here I Am Baby, Destination Anywhere, I’m Gonna Hold On Long As I Can, and the Great Britain-only Reachin’ For Something I Can’t Have. Condition? Not a worrisome mark anywhere, and a mirror shine. 🙂
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Robb Klein said:
Glad you’re Back again. I was 20 when this was out. And, yes, 1966 was a great year for Motown (although I like 1964, 1965, 1963 and 1962 better. “One More Heartache” is similar ton Ain’t That Peculiar, and many of Marvin’s 1965-66 “A” side cuts. I’dn given it an “8”. I was never a big fan of Marvin’s work.
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Riley said:
I can’t wait to read your reviews of three of my all time favourite Motown songs sometime in the future. ”Get Ready” by the Temptations, ”Love is like an Itching in my heart” by the Supremes and ”The Hunter gets captured by the Game” by The Marvelettes.
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kevintimba said:
Well, even at your current pace, you’re still updating quicker than George R. R. Martin. Still dying for you to get to all that juicy stuff like Bernadette and Reach Out.
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nafalmat said:
It’s a shame that this site seems to have died, for a second time! I think we were all delighted when it appeared to come out of its ‘coma’ late last year, but only two new posts appeared and now nothing again for nearly six months. I appreciate that this is a time consuming project, but I am sure there are others like me who would love to comment on and read others comments on later Motown releases. It would be great if someone would create another similar site to carry on where this left off. I would do it myself if I had the technical knowhow of how to create a website, but I don’t. A new site could be set up with entries for all the later Motown releases up to the end of 1972, allowing people to comment as they wish rather than in strict chronological order. The owner of the site could then add their comments when they have the time but that would not restrict others commenting first. Anyone else agree?
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The Nixon Administration said:
It’s not died, it just hibernates far too much while my children grow up. Turns out I really underestimated how difficult it is to reconcile being a parent with being a blogger, and since this gig is unpaid, it’s the first thing to go when I need more hours in the day. I really do feel bad keeping everyone waiting. All I can do is promise I’ll always come back again. But it won’t be over until we either get to 1988, or I get hit by a bus.
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Ken said:
To me and so many others you’re already a hero. Can never thank you enough for the mountains of info, insight and entertainment you’ve provided. Anything that comes in the future is sheer bonus. The very best to you and your family.
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trebori said:
Ditto to what Ken said. Life has a way of taking over. And as I’ve said before, I’ll patiently await your next installment.
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Landini said:
Hi Gang! I’ve been away for awhile. Health is still hanging in there. Still have cancer & am taking treatments every 3 week. So far they are not shrinking the cancer but they are keeping it at bay. So, I’ll take that. Anyway, this is a great song. When I hear the opening guitar riff I think of Creedence Clearwater Revival. I wonder if John Fogerty was listening to this song. Anyway… I hope all of you are well.
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The Nixon Administration said:
Great to hear from you, we’re all pulling for you. KTF.
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Robb Klein said:
Hi Landini, sorry to hear of your relapse, and need for intense treatments. Good luck with all that, to make you better again. We’re all pulling for you.
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Landini said:
Thank you my friends ! I am so blessed to have you in my life !
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Landini said:
I know she wasn’t Motown, but I thought I would give a shout out / RIP for Aretha Franklin. Interesting that she did grow up in Detroit. I wonder what would have happened if she had recorded for Motown. Many of my friends consider her “Motown”. Oh well. RIP Aretha & prayers/condlences for her loved ones.
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Robb Klein said:
Berry Gordy approached Aretha several times, trying to sign her, but her father, Reverend C.L. Franklin (himself a Chess artist), first got her to sign with Chess, because they were bigger, and then convinced her to sign with Columbia, because he thought a major label could do more for her, and also didn’t like Motown “managing” the funds of its artists. She did very well with Atlantic, and her later labels. So, I doubt she would have done better as a Motown artist.
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Landini said:
I often wonder what Motown would have done with her. They might have assigned her to someone like Norman Whitfield & put her on the SOUL label OR they might have tried to continue her in the pop/jazz vein of her Columbia recordings (a la Barbara McNair). Despite her great talent I don’t think she would have really fit into the Motown machine. Isn’t it interesting that a White, Jewish guy like Jerry Wexler was the one who “took her back to church” so to speak. Anyway… best to you friend !
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Ed Pauli said:
Don’t forget the recently departed Rick Hall, whose Fame Studios in Muscle Shoals Alabama had the sound that MADE Aretha!!
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144man said:
The Four Tops’ 1995 Motown album, Christmas Here With You, featured Aretha on “White Christmas” and “Silent Night”. This must be the closest she ever got to being a Motown artist.
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david wilson said:
Aretha did of course cover a number of Motown tracks and Stevie worked with her in the 70s
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Boogie said:
I really look forward to hearing your thoughts on the flipside to this. It’s always been the tune played at our soul party in Brooklyn and not a tune Marvin fans are accustomed to hearing. Thank you for all the valuable insight. Cheers.
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The Nixon Administration said:
It is so beautiful. And so weird. But so beautiful.
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144man said:
Happy Birthday “One More Heartache” review!
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The Nixon Administration said:
I know, what kind of amateurs are even running this place? I demand a refund.
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