"Come On Home"
Single by Holland–Dozier & The Andantes (Credited as The Darnells on 2nd single)
A-side	"What Goes Up Must Come Down"(1st single) "Too Hurt to Cry, Too Much in Love to Say Goodbye" (2nd single)
Released	June 12, 1963 (1st single) November 4, 1963 (2nd single)
Format	7" single
Recorded	Hitsville U.S.A. (Studio A) 1963
Genre	Rock and roll, doo-wop, R&B
Length	2:24
Label	Motown M1045 B Gordy G7024 B
Writer(s)	Holland–Dozier–Holland-Bradford
Producer(s)	Brian Holland Lamont Dozier

"Too Hurt to Cry, Too Much in Love to Say Goodbye" is a 1963 song and single written and composed by Motown's main production team Holland–Dozier–Holland. Credited to the Darnells the performers on both sides of the singles were in fact the Andantes (both sides), Holland–Dozier–Holland (B-Side only), Mary Wilson of the Supremes (B-Side), and members of the Marvelettes (A-side only), the Four Tops, and the Temptations (both on the B-Side). Nobody involved with the production on either side was pleased with the false credit. Whatever the reason it was done, it didn't work as the single only peaked at 17 on the Billboard Bubbling Under Hot 100 charts.

The song on the A-Side has the narrator the audience of the emotional pain she experiences after seeing her lover kissing and holding another girl across the room (and he didn’t notice she was there). The A-Side is now officially considered both a Marvelettes single, and the first of two official singles by the Andantes by the Motown company. Marvelettes lead singer Gladys Horton is the main lead on the song, with her groupmate Wanda Young and Andantes member Louvain Demps on harmony co-lead. For the Marvelettes this recording would be similar to some of their later songs (as wells as songs by the Supremes, the Vandellas, and the Velvelettes), in which the only group members heard on the songs are the ones singing lead. In the Andantes' case Demps' harmony vocals on this song, and her group's backing chime-offs on Mary Wells's "My Guy" and Marvin Gaye's "Ain't That Peculiar" and solo speaking lines on Barbara McNair's "Fancy Passes", would be the closest any member of the group would get to front any recording at Motown; as they would not be allowed to even sing main lead on neither side on this single, nor their follow-up "(Like A) Nightmare" b/w "If You Were Mine".

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