Relegated To B-SIDE . . . Or Honored By It?

[Methuselah2]

I'm hoping--although it seems extremely unlikely--that someday there will be a Motown symposium held with those employees who were involved with the company's Quality Control Dept. And just as much as I'd like to hear about what went into deciding what would be A-side releases, I'd just as much want to hear about B-side selection. In fact, B-side choices often seem to be an even more difficult issue to get a handle on and understand from the position of consumer. Notwithstanding one's own personal likes and individual taste, B-sides often confound me as to what the criteria was or may have been. Such as: Was the B-side chosen so as not to draw attention from the A-side? Was it chosen for being strong so as to assist sales, if needed? Would it be taken from the artists' previous album to make it clear it wasn't an A-side and emphatically not meant to be? Or, perhaps, was it chosen out of necessity so as to keep on reserve other recordings for likely A-side release? There could be many other considerations, as well. All of us have heard B-sides that seem to fall into these possible categories. Some even attain substantial recognition in regional and local markets, as well as in markets overseas. And, reportedly, a few B-sides have gone on to overshadow the A-side in popularity.

I'd just like to know what the B-side selection strategy/strategies were. I assume they did exist since nothing seems left open to chance--and yet chance is the one thing that's always there no matter what you do.

[144man]

Somewhere over the years I've read that it was a deliberate decision that the labels were not marked "A" or "B", which did leave a certain amount of flexibility where both sides were particularly strong as in Mary Wells' "You Lost the Sweetest Boy" / "What's Easy For Two".

This did increase chance becoming a factor owing to DJs playing the wrong side either through personal choice or in error. In New York, for instance, Jack Spector made the Temptations' "You've Got to Earn It" his record of the week, in preference to "Since I Lost My Baby". No doubt if many other DJs had followed suit, Motown would have quickly reflected this in their publicity.

[arr&bee]

Good one meth,as 144man stated back in the day the dj's could decide if a b-side became a hit in some cities,i remember a song called[if i could build my whole world around you]the b-side was[if this world were mine]the dj's flipped that one over and it played a good while.

[reese]

Somewhere over the years I've read that it was a deliberate decision that the labels were not marked "A" or "B", which did leave a certain amount of flexibility where both sides were particularly strong as in Mary Wells' "You Lost the Sweetest Boy" / "What's Easy For Two".

This did increase chance becoming a factor owing to DJs playing the wrong side either through personal choice or in error. In New York, for instance, Jack Spector made the Temptations' "You've Got to Earn It" his record of the week, in preference to "Since I Lost My Baby". No doubt if many other DJs had followed suit, Motown would have quickly reflected this in their publicity.

After a while, Motown began putting the designated A-side on both sides of their DJ copies, so that DJs couldn't flip it over.

[Sotosound]

After a while, Motown began putting the designated A-side on both sides of their DJ copies, so that DJs couldn't flip it over.

All I can say is "My Cherie Amour", "Behind A Painted Smile", "Forget Me Not", and "Farewell Is A Lonely Sound".

:)

[luke]

Great question Meth. I'm not sure either. Martha seemed annoyed with split play on some of their records which she felt diluted chart progress. Mary Wells' You Lost the Sweetest Boy and the flip prime example. Separately they probably both could have been bigger hits. I guess the record companies wernt sure either often putting obvious non hit song on b side.

[Methuselah2]

Very interesting comments and observations, everyone.

Here's a few:

THE STRONG B-SIDE:
Supremes/BABY LOVE
--b/w ASK ANY GIRL
Tops/7-ROOMS OF GLOOM
--b/w I’LL TURN TO STONE
Martha & Vandellas/JIMMY MACK
--b/w THIRD FINGER, LEFT HAND

THE NOTICEABLY WEAKER B-SIDE:
Supremes/NOTHING BUT HEARTACHES
--b/w HE HOLDS HIS OWN
Supremes/BACK IN MY ARMS AGAIN
--b/w WHISPER YOU LOVE ME BOY

B-SIDE THAT SURPASSED THE A-SIDE'S POPULARITY:
Tempts/I'LL BE IN TROUBLE
--b/w THE GIRL'S ALRIGHT WITH ME

B-SIDE POPULARITY IN LOCAL/REGIONAL MARKETS:
Smokey & Miracles/MORE LOVE
--b/w SWEPT FOR YOU BABY

B-SIDE THAT SHOULD HAVE BEEN AN A-SIDE:
Marvin/ONE MORE HEARTACHE
--b/w WHEN I HAD YOUR LOVE

I can't help thinking that a lot of thought and consideration went into deciding B-sides; doesn't seem that it could have been random to me. For whatever reasons the decision-makers had.

[luke]

And my all time fave b side Going down down for the third time!!

[arr&bee]

How great was[a folk in the road]a b-side.

[Motown Eddie]

All I can say is "My Cherie Amour", "Behind A Painted Smile", "Forget Me Not", and "Farewell Is A Lonely Sound".

:)

And here's a shout-out for some of my favorite Motown B-Sides;
1. "Number One In Your Heart"-The Monitors
2. "I'll Turn To Stone"-Four Tops
3. "Never Leave Your Baby's Side"-Martha & the Vandellas
4. "I'll Be Available"-Brenda Holloway
5. "Everything Is Good About You"-The Supremes
6. "You've Been A Long Time Coming"-Marvin Gaye
7. "You Ain't Living Until You're Loving"-Marvin Gaye & Tammi Terrell

[dba]

I also like Whisper you love me boy, I'm in Love Again and Who Could Ever Doubt



And here's a shout-out for some of my favorite Motown B-Sides;
1. "Number One In Your Heart"-The Monitors
2. "I'll Turn To Stone"-Four Tops
3. "Never Leave Your Baby's Side"-Martha & the Vandellas
4. "I'll Be Available"-Brenda Holloway
5. "Everything Is Good About You"-The Supremes
6. "You've Been A Long Time Coming"-Marvin Gaye
7. "You Ain't Living Until You're Loving"-Marvin Gaye & Tammi Terrell

[lockhartgary]

My favorite B-sides:
1. Nobody But My Baby - Temptations
2. There's No Stopping Us Now - Supremes
3. Baby, Baby I Need You - Temptations
4. All the Love I've Got - Marvelettes
5. I'll Turn to Stone - Four Tops
6. Sad Souvenirs - Four Tops
7. Third Finger, Left Hand - Martha and the Vandellas
8. Paperboy - Marvelettes