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Gordy G 7005 (A), June 1962
b/w Move Mr Man
(Written by Berry Gordy)
Oriole CBA 1763 (A), September 1962
b/w Move Mr Man
(Released in the UK under license through Oriole Records)
The Contours’ third single, and far and away their best-known record, this blazed its way up the charts and became Motown’s third R&B Number One hit, before being goosed all the way up the charts again more than twenty years later thanks to its prominent inclusion in the film Dirty Dancing.
You probably knew all that, though.
Whenever the time comes for me to have to write something about a really popular song, I’m always at a bit of a loss as to what to do. From looking at the visitor stats (like the obsessive nerd that I am), it would appear most people stumble across this site looking for information about the really obscure stuff. Henry Lumpkin, Nick & the Jaguars, Sherri Taylor, Eugene Remus, the Satintones – they’re all popular choices with visitors to Motown Junkies, probably because there’s been very little written about them in the past, and so there aren’t seventeen pages of Google hits to wade through before you find this place. And when you do, here I am with the information you were looking for. Public service blogging – bam!
Do You Love Me, on the other hand, is one of the best-known of all Motown hits (even if, like the previous two big smashes the label had had prior to this one, Barrett Strong’s Money (That’s What I Want) and the Marvelettes’ Please Mr Postman, many people might not realise it was a Motown record at all). I’m not sure I can really say anything about it that hasn’t already been said already. But for the benefit of regular visitors, and people arriving from page 18 of the Google search results, I’ll give it a try anyway.
This record is a real anomaly, in a number of ways. A big hit for a band who didn’t have any other big hits, an enduring classic that took a lot less time to write and record than many Motown flops, a rough, raw-edged screaming rocker from a label that would come to stand for almost the opposite of all those things.
It wasn’t even intended for the Contours at all; the story goes that Berry Gordy had already sketched out a rough demo with the intention of offering it to the Temptations, then started doing some more work on the song at Hitsville one night, got progressively more excited as he worked, wanted to record the song right away (shades of his middle-of-the-night phone call to Smokey Robinson after he got the idea to re-record the Miracles’ Shop Around), couldn’t find the Temptations, and ended up grabbing their newly-signed Gordy Records labelmates the Contours as they happened to be passing through the building and shepherding them into the studio. The released take of the record was apparently cut right there and then.
It’s a nice story, and if it’s true then it’s fascinating to wonder what might have happened to the Temptations had Berry Gordy been able to find them and get them to cut this song. As it happens, it suits the Contours down to the ground: the amiable chancers of the Motown family, better known for their (incredible) dancing than their (limited) harmonies, belting out a raucous dancefloor hit. Whether it would have suited the early Temptations half as well is another question (I’m thinking no, personally). The fascinating part is that the barnstorming success of this record, quite unforeseeen by anyone at Motown, ended up hemming the Contours into a restrictive mould, forced down a path of endless virtual remakes and rewrites for the next two years, while the Temptations – much better singers – ended up cutting a string of classic singles under the tutelage of Smokey Robinson. If the roles had been reversed… who knows? The Temptations weren’t really rockers, and the one previous time the Contours had tried to cut a harmony ballad, the result had been the genuinely godawful Funny, one of the worst records in the Motown canon. So if history had played out the way it was apparently supposed to, we might have ended up with a sub-par, quickly-forgotten Tempts rendition of Do You Love Me and never had, say, The Way You Do The Things You Do. Instead, we got dozens of great Temptations records, and one splendid Contours track out of the bargain.
Because this really is splendid. Billy Gordon, who’d lent his awesome raw R&B sandpapery pipes to the Contours’ excellent debut single Whole Lotta Woman, here gives a reprise on lead, and he’s perfectly suited to this song. The slightly baffling speech patterns of the intro (You broke my heart / ‘Cos I couldn’t dance / You didn’t EVEN / Want me around / And now I’m BACK / to let YOU know / I can really shake ’em down), delivered over a bed of high plucked guitar that sounds more like an Italian mandolin mixed with musical saw, are endearing more than anything else. Then the song proper kicks in, and it’s irresistible, carried by two things, Gordon’s screaming vocal and the soaring, Twist And Shout harmonies of the chorus. (They still can’t really sing, but on this one song, it doesn’t really matter.) There are also some other nice touches – infectious handclaps, a sneaky false ending at 2:27 where the music fades down before crashing back in unexpectedly, a lengthy, silly bridge where the backing vocals are buttressed by a series of Brrmm bom bom bom throat noises – and the whole thing really screams “throwaway fun”, a mix that couldn’t help but become a success on the dancefloors of America.
All of that being said, it’s very simplistic and surprisingly dated, even by the standards of the other stuff Motown was putting out in the summer of 1962. A rough and ready R&B attack combined with a Fifties rock and roll setting, a variation on something old rather than a first appearance of something new, this was actually following what turned out to be a musical dead-end, though obviously nobody knew it at the time. This is pretty much the furthest Motown would end up going in this particular direction before all possibility of further development was exhausted.
Despite the litany of varied dance crazes reeled off by Gordon during the course of the song (I can mashed potato, I can do the Twist), at its heart Do You Love Me is really just some Twist music, dressed up as a raucous R&B/rock ‘n’ roll freak-out. This isn’t so surprising when you consider less than six months had passed since Motown had poured a not insubstantial amount of time and money into chasing Twist craze dollars, knocking out three different singles in short order all based on the Twist phenomenon, not to mention the Contours’ previous single, The Stretch, an engaging but ill-advised bid by Berry Gordy to kick-start his own nationwide teenage dance sensation. Ironic, then, that Gordy should tap into that market with a light-hearted, hugely entertaining throwaway record like this.
A cover version by white British band Brian Poole and the Tremeloes, re-timed slightly, with a rockier arrangement and omitting the false ending, shot to Number One in the UK (where the Contours’ original was picked up for release by Oriole Records, but did nothing), the first Jobete song to do so, and it was only the release of Dirty Dancing and its two mega-selling soundtrack albums in the late Eighties that made the Contours’ version the better-known of the two here. So, if there was ever a reason to be grateful to Patrick Swayze, this is it.
The Temptations themselves never ended up cutting a version of Do You Love Me (a ropey 1990s tribute album job notwithstanding), though the Miracles and the Supremes both later had a go; like the Tremeloes’ effort, all three versions seem artificial and contrived in the face of the unbounded joy and exuberance of the crazed original.
No, this is the definitive version of this song, and a good example of an inspired match between performer and material; the Contours’ performance makes a thin song into a super record, while Berry Gordy’s song briefly makes a bunch of tone-deaf dancers into a star recording group. A musical dead end it might be, but it’s excellent fun all the same.
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 The Contours? Click for more.)
Mickey McCullers “I’ll Cry A Million Tears” |
The Contours “Move Mr Man” |
Steve Robbins said:
I always thought it was a much bigger hit than it deserved, but I was happy for Berry and the gang. #3 Pop and #1 RnB
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Russ said:
First comment I’ve made on here although I’ve been reading for a while. Started at the start and have been working my way through chronologically (skipping the odd record as its the Soul I’m interested in not the other styles (so certainly not the C&W when it rears its head)).
This is the first record you’ve reviewed that I own and as it’s so well known I’m surprised there are not more comments. It’s not one of my great Motown favourites admittedly, but an enjoyable enough romp nonetheless.
This really is a mammoth task you’ve taken on (like you need me to tell you that !) and I look forward to taking this ride along with y’all.
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The Nixon Administration said:
Thanks Russ, good to have you along 🙂 Hope you’re enjoying.
The site gets thousands of daily visitors nowadays, but it didn’t really start getting popular until around October/November 2010, so a lot of these earlier reviews are a bit lacking in comments – if anything, the really popular songs suffer a bit in comparison to the obscure stuff, because there are so many Google results for something like “Do You Love Me” that people don’t often stumble over my posts, whereas I’m the first hit for records by people like Cornell Blakely or Mike and the Modifiers.
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bogart4017 said:
The Miracles cover of “Do You Love Me”? Thats on the “Doin” Mickey’s Monkey”. Its one of the few times it sounds like the Miracles were just phoning it in. The Supremes version was on the lp “A Bit of Liverpool”. The effect is a bit like putting sugar on your steak instead of steak sauce. You’re probably guessing i’m some kind of purist (i’m not) but the fact is some songs should be left to the original artists. Publishers and songwriters may now release the hounds!
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Kevin Moore said:
>some songs should be left to the original artists
I agree, but this one, of all of them, could use a version with equal spirit but better intonation. The main hook is seriously flat but those Twist & Shoutesque rises are just painful. You say that the Temptations weren’t rockers enough – if you had to do a remake with Motown’s roster who would you pick? Eddie Holland? Sammy Ward? How about raising the key and having Smokey sing it?
Of course, if I could pick anybody, Little Richard leaps to mind.
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Robb Klein said:
I know what you mean. I didn’t really like The Contours until they got a decent lead singer (Joe Stubbs, and then Dennis Edwards). I absolutely HATE Billy Gordon’s singing, and don’t really like any of their other leads.
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barbara wisdom said:
Loved your comments…I would like to know where I can find Part 1 and 2 of “Do You Love me” by the contours. Thanks
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Steve Popa said:
The analysis on this site is quite impressive.
No activity on this thread for almost a year, so this is a long shot, but can anyone decipher the actual lyrics between 1:40 and 1:46 (the two lead lines, in the second “Watch me now” break, preceding “Don’t get lazy”)? What’s on the internet lyric sites is obviously incorrect, and cover versions, including those by the Contours, invariably throw up their hands and fill the space with something else.
If I had to ballpark it, I’d say it’s “Get it get it baby–work work–Aw, ride it with me baby . . .” This is somewhat supported by (1) the Supremes’ cover, which reads the first of these lines as “get it with it baby” and (2) fragments of the only contemporaneous live clip of the Contours I could find. It’s what almost looks like a rehearsal for something called Motortown Revue at the Apollo. At different points during the relevant segment, you can hear/see the lead singing “Get it [indecipherable]” followed later by what’s fairly plainly “Ride it with me baby” while dancing something approximating The Pony.
I guess the odds are nobody will ever see this, but it’s worth a try, since an answer has been eluding me for about twenty years.
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Robb Klein said:
Despite Stephane not adding new reviews for a year, we commentators are still actively posting. Although I bought “Do You Love Me” new, seen The Contours perform it on TV several times, and even live once, I can’t answer your question off the top of my head. I’ll listen again, now.
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Abbott Cooper said:
The word before “Don’t get lazy” is definitely “baby.” As for the rest:?????
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Slade Barker said:
He’s just mumbling improvising, I think. He sings something like “Get with me, baby” and the second line, he’s just mumbling!
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Steve Popa said:
My (surprised) thanks for the responses. I’ve probably listened to this song a hundred times since my original comment, with no resolution. The quest continues . . .
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