Four Tops - Baby I Need Your Lovin

[theboyfromxtown]

This is so good


https://www.youtube.com/watch?v=GMh21mQ1jNM&feature=player_embedded

[marv2]

It is beyond good. It is not only my favorite Motown recording, it is my favorite record of all time!!!. It would be at the top of my deserted island discs.

They do a great job in this clips also. Thank you for posting it.

[soulwally]

Fifty-odd years on the Tops still look so cool [[in this vid), while the studio crowd, who probably looked pretty cool back in the day, look anything but now!

[jaybs]

While we have THE BEST Music like this we will Always have LEVI STUBBS with us, such rich memories spent interviewing him so many times, The Real GENT of Music & MOTOWN.

[lockhartgary]

I never associated "The Jerk" dance with this song...until I saw this video.

[Motown Eddie]

"Baby I Need Your Loving" is still a Motown Classic more than fifty years after is release in 1964. Also, the song is the benchmark for all of the great records that the Four Tops did at Motown [[particularly the songs written & produced by H-D-H). And "Baby I Need Your Loving" was my first introduction to the Four Tops although they had been recording & performing for years.

[mysterysinger]

Tops they definitely are. They're in my heart. Love those guys!

[luke]

Truly a magnificent song and performance. In my top 5. Hard to believe it stalled at # 11 nationally. I imagine it hit # 1 in some places, Detroit?

[144man]

It might even have been a hit in the UK if there hadn't been an inferior cover version by Liverpool group, the Fourmost.

[marv2]

Truly a magnificent song and performance. In my top 5. Hard to believe it stalled at # 11 nationally. I imagine it hit # 1 in some places, Detroit?

It was number one at my house. LOL!

[alexstassi]

Its my fave Tops number and up there with my all time fave tunes of all time. One of the best songs ive ever heard. Period.

[TomatoTom123]

It might even have been a hit in the UK if there hadn't been an inferior cover version by Liverpool group, the Fourmost.

I always wondered why the song didn't hit here in the UK! I won't lie, that version sounds pretty bad before I've even heard it, lol :)

[alexstassi]

Same as with Dionne Warwick. Bar Walk on by and Don't make me over, it seems the UK prefered to release cover versions by British white artists rather than her original versions.

[snakepit]

British groups covered a lot of American hits, often Black R&B material. They were good songs, often with little chance of being issued or played on UK radio .
The record buying public would have virtually no chance of hearing the original version.
It is sad that most UK music fans from the early 60s are ignorant of the origins of many hits. It is a hobbyhorse of mine....friends are surprised when I point out that hits they ate familiar with are cover versions.
You would have to know that the BBC and the media were ignorant of the finer details of 'pop' music back then.

[luke]

What was first Motown hit in UK?

[snakepit]

Prior to Tamla Motown label [[ March 1965), Motown product was issued on several UK labels...My Guy was the first major hit in 1964, Where did our love go and Baby Love were hits too. [[ Stateside label).
Motown records were generally NOT well known amongst the general record buying public. The odd on made the lower reaches of the pop charts...Supremes had decent sized hits. Major artists like Temptations and Marvin Gaye were virtually unknown to the general public. 1966 had a few hits..
1967 saw a upturn in Soul music acceptance.

[westgrandboulevard]

I remember reading about 'Tamla Motown' in a UK weekly music paper in the early sixties [[taking a guess, Record Mail...).

The recordings which we now consider as classics, and which have formed the soundtrack of our lives, I then saw described in said paper as 'race music'.

It didn't sound like that to me. It simply sounded joyful.

That description of 'race music', and the thinking [[or maybe lack of) behind it, must have strongly influenced why the original versions were not promoted more.

This then allowed white acts [[some already having achieved some initial popularity) the opportunity of covering the records, usually with identical arrangements but, in comparison, generally achieving an inferior result. The recording labels no doubt were thinking there was a greater potential for sales for records by white acts, especially if those records were to be favoured by the BBC.

Many others would have instinctively agreed with what I heard every time with my own ears; that the original was still the greatest.

Sometimes, a record by a black artist would be given credit as 'the original version', but only once the cover by a white artist had already become a hit. By that time, too late to be of any help to the original artist.

Happily, times did soon change.

Berry Gordy, following the early success of his records, emphatically reversed that unfair situation by not only releasing music that he felt everyone could love.....but which was almost always performed by black artists. :)

[snakepit]

Luke,
I'm talking here about the GENERAL public's knowledge.
Pirate radio stations attracted fans who were keen on Soul, USA music, but the national radio [[BBC) was very conservative and not ' hip' [[ sounds dated now) to these records.

A few years ago, I was doing a pub quiz. A photo of DRATS was shown, asking to identify the 3 members. Of the quiz entrants, about 50 or so, aged about 40-55 years old , I was the only one who knew them.
Answers included Aretha Franklin, Tammi Terrell, Gladys Knight, Kim Weston.
The General public 😠

[marv2]

Luke,
I'm talking here about the GENERAL public's knowledge.
Pirate radio stations attracted fans who were keen on Soul, USA music, but the national radio [[BBC) was very conservative and not ' hip' [[ sounds dated now) to these records.

A few years ago, I was doing a pub quiz. A photo of DRATS was shown, asking to identify the 3 members. Of the quiz entrants, about 50 or so, aged about 40-55 years old , I was the only one who knew them.
Answers included Aretha Franklin, Tammi Terrell, Gladys Knight, Kim Weston.
The General public ��

Amazing, especially with that age group. You would get a blank stare here in the U.S. with the 20-35 y.o. age group if you asked that question. Some might know, but most probably wouldn't.

[marv2]

I remember reading about 'Tamla Motown' in a UK weekly music paper in the early sixties [[taking a guess, Record Mail...).

The recordings which we now consider as classics, and which have formed the soundtrack of our lives, I then saw described in said paper as 'race music'.

It didn't sound like that to me. It simply sounded joyful.

That description of 'race music', and the thinking [[or maybe lack of) behind it, must have strongly influenced why the original versions were not promoted more.

This then allowed white acts [[some already having achieved some initial popularity) the opportunity of covering the records, usually with identical arrangements but, in comparison, generally achieving an inferior result. The recording labels no doubt were thinking there was a greater potential for sales for records by white acts, especially if those records were to be favoured by the BBC.

Many others would have instinctively agreed with what I heard every time with my own ears; that the original was still the greatest.

Sometimes, a record by a black artist would be given credit as 'the original version', but only once the cover by a white artist had already become a hit. By that time, too late to be of any help to the original artist.

Happily, times did soon change.

Berry Gordy, following the early success of his records, emphatically reversed that unfair situation by not only releasing music that he felt everyone could love.....but which was almost always performed by black artists. :)

It sounds like what they experienced in the U.K. was about 10 years behind what happened in America. The practice of covering popular music by black artists was routinely done here in the early to mid 1950s.

[marv2]

Johnny Rivers covered this one and had a huge hit with it too. For me, no one could ever sing this song as great as the Four Tops!

[snakepit]

The same would apply to The Beach Boys.
Not unique to R&B /Soul acts. But the point is that the public in general were pretty ignorant of these groups. Beatles, Stones, Monkees ....after that, ??

[snakepit]

Regarding the UK, we did not have a pop radio station until 1967, and that was brought in to swamp the pirate radio stations.
The BBC had a limit of needle time, so live bands [[ in the old sense) had airplay, with ALL kinds of music featured. Motown/Soul music had little chance against this policy....and obviously UK beat groups were prioritised.

[TomatoTom123]

Luke,
I'm talking here about the GENERAL public's knowledge.
Pirate radio stations attracted fans who were keen on Soul, USA music, but the national radio [[BBC) was very conservative and not ' hip' [[ sounds dated now) to these records.

A few years ago, I was doing a pub quiz. A photo of DRATS was shown, asking to identify the 3 members. Of the quiz entrants, about 50 or so, aged about 40-55 years old , I was the only one who knew them.
Answers included Aretha Franklin, Tammi Terrell, Gladys Knight, Kim Weston.
The General public 😠

snakepit I hope your specialist [[!) knowledge helped you win the quiz!!! :D

[snakepit]

Probably not...usually photos of current day 'stars'.included....I've no chance

[TomatoTom123]

Oh dear, not current day stars!!!

Did they get Diana Ross out of the three? I suppose it might depend on the picture.

[TomatoTom123]

Prior to Tamla Motown label [[ March 1965), Motown product was issued on several UK labels...My Guy was the first major hit in 1964, Where did our love go and Baby Love were hits too. [[ Stateside label).
Motown records were generally NOT well known amongst the general record buying public. The odd on made the lower reaches of the pop charts...Supremes had decent sized hits. Major artists like Temptations and Marvin Gaye were virtually unknown to the general public. 1966 had a few hits..
1967 saw a upturn in Soul music acceptance.

Great info, thanks snakepit!!

When did the whole Northern Soul scene start to appear? Was that the same time as Soul music began to be more widely accepted? :)

[marv2]

The same would apply to The Beach Boys.
Not unique to R&B /Soul acts. But the point is that the public in general were pretty ignorant of these groups. Beatles, Stones, Monkees ....after that, ??

Young people in Metro NYC and Long Island do not know who Paul McCartney is. Several applauded Kanye West for giving an "old guy" the opportunity to record with him! Talk about shocking.

[marv2]

Oh dear, not current day stars!!!

Did they get Diana Ross out of the three? I suppose it might depend on the picture.

There are some that believe she died sometime in the 90s.

[marv2]

"Baby I Need Your Loving" as sung by the Four Tops is a special song. I can imagine a group of guys singing it on the corner under a street lamp as easy as I can imagine them doing it on a concert hall stage.

[luke]

Thanks snakepit for Info.

[marv2]

Regarding the UK, we did not have a pop radio station until 1967, and that was brought in to swamp the pirate radio stations.
The BBC had a limit of needle time, so live bands [[ in the old sense) had airplay, with ALL kinds of music featured. Motown/Soul music had little chance against this policy....and obviously UK beat groups were prioritised.

That sounds like Can-Con [[Canadian Content Requirements) pushed in Canada in the 70s. Prior to that they played all the Motown Artists and other American bands on their radio stations.

I first heard the Four Tops, "Baby I Need Your Loving" on a Top 40 station called WCWA.

[snakepit]

When I say Bands, I don't mean pop/rock....more like 40s/50s dance bands. The BBC played all kinds of things , and had to air a percentage of live music. "Pop/rock n roll" was mixed in with easy listening ballads, novelty records, comedians singers etc. A real mixture, and R&B/soul had little chance, even the cover versions had a battle to get played.
By about 64, the pirate radio ships were playing 100% discs, many from the USA. Motown was featured a lot but did not register big sales....the charts were formed by the general BBC playlist. The odd soul record broke through.

[snakepit]

Great info, thanks snakepit!!

When did the whole Northern Soul scene start to appear? Was that the same time as Soul music began to be more widely accepted? :)

The 60s had clubs who played Motown/soul, in London and elsewhere.A mixed bag.
There were specialst clubs who programmed uptempo 60s /Motownesque style, leaving behind blues/r&b stuff.
Several clubs were interested in discovering records that had been overlooked/undiscovered, staying in that style. Clubs were mainly in the Midlands/North of England..
Blues and Soul magazine [[ the bible) sent Dave Godin to visit Manchester's Twisted Wheel to report on this " underground" scene, which was becoming influential with UK record companies taking note of big plays. This was 1970.
In the article he referred to this scene as " Northern " soul, as opposed to London, where clubs were playing contemporary records.
The story goes that his record shop in Covent Garden would put this 60s rarer/uptempo style in boxes especially for customers from " oop north" who were in London following their football team. The reissue of several big sounds , including Motown, were as a result of companies looking at their catalogue for popular tunes.
So , NS was a gradual scene built throughout the 60s.
By 1972/3, 100s of USA imports were brought over by DJs and dealers and the scene was in full bloom.

[marv2]

Wow, and no offense, but I am very happy I grew up in America even with all our faults! I am especially glad I grew up where I did in America close enough to the Canadian border where we also got to hear a lot of artists that the rest of the country didn't. Thank God for all of those legendary DJ's in Detroit, Toledo and CKLW-Windsor! We got to hear it all, in most cases we got to hear it first [[especially when it came to Motown) and never missed a beat! LOL!

[marv2]

https://www.youtube.com/watch?v=AUsJpaYWtBg

Taking a listen to the studio recording as a reminder for everyone that loved this song/record, what still gets me is how it starts out with the rumble of the drum, "OOo, Oooo, OOooo's" and the finger snaps, yes the finger snaps by the Tops setting the tone for what's coming next. It sounds like they are almost crying in tune and then LEVI comes in and he is the only man I've ever heard that was able to "cry with his voice" and make it sound great ,believable and mournful over his love. The Funk Brothers just keep pounding away with that tempo that's irresistible. As with all great Motown records, the backing harmonies are as important as what the lead singer is doing in my opinion. This is one of the few times I like how they have the Tops and the Andantes singing TOGETHER in the background. With "Baby I Need Your Loving" the tension in the song and it's subject continues to grow throughout the song as Levi pleads his case, explaining what he's dealing with up to sings "Makes me feel half alive"! It's simple, direct, it is just too much LOL!

I love this song!

[snakepit]

Marv,
I wish we had the type of DJs the USA had too.
The late 50s/Early 60s were not that long after the war...the UK was very different to the states.
We only had the BBC...their management /DJs would be ex Army Officers/ RAF pilots etc...not there for their music experience!!
Very old school/establishment..old boys network/old school tie.
Elvis, Bill Haley /rock'n' roll would have rocked the boat, but until 1967, when BBC reacted to the pirates pop stations, we had a very mixed radio playlist.
When BBC Radio one was formed in 67, they brought many pirate radio DJs into the fold. The important breakfast show was hosted by Tony Blackburn, who fortunately was a big Motown/soul fan....He was very influential in getting Motown played. Artists like Brenda Holloway, Chuck Jackson, David Ruffin, Originals and many others got played on his morning show, prime time. Not really enough for big chart sales, but records that never really got a chance prior to this.

[mysterysinger]

UK Tamla Motown recognised the contributions made by the likes of Dave Godin, Tony Blackburn, Alan Freeman and others by having them write liner notes to their album releases, for example Motown Memories and Motown Chartbusters.

[marv2]

Marv,
I wish we had the type of DJs the USA had too.
The late 50s/Early 60s were not that long after the war...the UK was very different to the states.
We only had the BBC...their management /DJs would be ex Army Officers/ RAF pilots etc...not there for their music experience!!
Very old school/establishment..old boys network/old school tie.
Elvis, Bill Haley /rock'n' roll would have rocked the boat, but until 1967, when BBC reacted to the pirates pop stations, we had a very mixed radio playlist.
When BBC Radio one was formed in 67, they brought many pirate radio DJs into the fold. The important breakfast show was hosted by Tony Blackburn, who fortunately was a big Motown/soul fan....He was very influential in getting Motown played. Artists like Brenda Holloway, Chuck Jackson, David Ruffin, Originals and many others got played on his morning show, prime time. Not really enough for big chart sales, but records that never really got a chance prior to this.

You, yourself would have made them a spectacular DJ if you were on the air back then. I can tell just from the variety of your playlists, while staying inside the same genre. Yes we were blessed with some very good, very knowledgeable DJ's. They knew the artists and the record company personnel. They all strove to become local celebrities and always keep things on the upbeat.

[marv2]

Was German radio under similar restrictions in those days? I know a lot of America artists toured there in the 60s/

[144man]

Was German radio under similar restrictions in those days? I know a lot of America artists toured there in the 60s/

I remember I used to be able to listen to a lot of US records I couldn't hear in England by tuning in to a German station called Deutschland Funk.

[marv2]

I remember I used to be able to listen to a lot of US records I couldn't hear in England by tuning in to a German station called Deutschland Funk.

Interesting. Germany seemed to be more hip [[smile). What would attribute that to? Could it have been the number of Americans stationed and living there?

[marv2]

Do any of you remember this television commercial?


https://www.youtube.com/watch?v=x_vwAYIi8wg

[144man]

Interesting. Germany seemed to be more hip [[smile). What would attribute that to? Could it have been the number of Americans stationed and living there?

That's right as I also used to listen to AFN, broadcasting from Germany, as they had a show where they played a rundown of the Billboard Hot 100.

[marv2]

That's right as I also used to listen to AFN, broadcasting from Germany, as they had a show where they played a rundown of the Billboard Hot 100.

This is news to me, this is why this forum is invaluable. I thought that the weekly Billboard countdown was only heard here in the U.S. Amazing.

[snakepit]

I turned into AFN..Milt Kemp was DJ, it was the best place to hear new soul 45s.

[tmd]

I read somewhere ,and I totally agree that Baby I Need Your Loving was the start of classic Motown, with the strings and beautiful arrangements, not to mention the greatest voice of all time, I cherish the time when I was just a mere 18 years old and met Mr. Stubbs and had a lengthy conversation with him, even though he had no clue what that meant to me, I can attest 45 years later that it was and will remain one of the top 10 highlights of my life.
This song ranks right there with My Girl , truly two great book ends.

[marv2]

I read somewhere ,and I totally agree that Baby I Need Your Loving was the start of classic Motown, with the strings and beautiful arrangements, not to mention the greatest voice of all time, I cherish the time when I was just a mere 18 years old and met Mr. Stubbs and had a lengthy conversation with him, even though he had no clue what that meant to me, I can attest 45 years later that it was and will remain one of the top 10 highlights of my life.
This song ranks right there with My Girl , truly two great book ends.

Excellent post TMD! I agree, Levi was very cool to talk to. Really all of them were. This song had Motown written all over it. It was being in the car driving through the streets of Detroit at night. It was me sitting on the front porch that summer and hearing it come through the window on my mothers clock radio and not realizing those were the best days!

[robb_k]

Interesting. Germany seemed to be more hip [[smile). What would attribute that to? Could it have been the number of Americans stationed and living there?
14255
ABSOLUTELY! Some of the GIs formed bands and played in German nightclubs. Others brought American records there, and The Germans were exposed to them.

[marv2]

14255
ABSOLUTELY! Some of the GIs formed bands and played in German nightclubs. Others brought American records there, and The Germans were exposed to them.

I had a thought that may have been the case. Thank you Robb!