63. The Supremes: “I Want A Guy”
Immensely likeable, genuinely beautiful, and above all pants-wettingly good. Even if it sounds nothing like the Supremes everyone knows, it’s as good a début single as anyone, anywhere, has ever recorded. (10)
Category Archives: Writing credit: Berry Gordy
58. Barrett Strong: “You Got What It Takes”
A straight, almost note-for-note cover of a bluesy R&B song taken to the Top Ten in a version by Motown alumnus Marv Johnson on United Artists in 1959, this is pretty much an exercise in pointlessness; if you listen to that one, you’ve listened to this one. (3)
57. Barrett Strong: “Money And Me”
It seems to be intended as a gentle bit of comedy, but Strong delivers it deadpan and without flair so that it falls flat on its arse, preachy and unfunny. Unusual for all that songwriting talent to miss the mark so comprehensively; a case of too many cooks, perhaps. (3)
55. The Miracles: “Ain’t It Baby”
The Miracles’ singles had been getting progressively less good with each single since Way Over There, to the point where this sounds like a B-side cut by some forgettable act, not a follow-up to a smash hit single by Motown’s flagship group. (4)
54. Debbie Dean: “A New Girl”
Really rather lovely; a slowie, but a break from the barely-modified standard doo-wop structures that had been used on almost every Motown slowie to date – this is an early Sixties pop record all the way.
53. Debbie Dean: “Don’t Let Him Shop Around”
The Miracles themselves provide the backing vocals on this, essentially a note-for-note remake of Shop Around with new lyrics. (6)
50. Henry Lumpkin: “We Really Love Each Other”
Neither this song nor the A-side went on to do anything at all in the charts, but Lumpkin was so clearly One To Watch that like other excellent male vocalists who started their Motown careers with early-Sixties commercial flops – a club which would also include Marvin Gaye and Jimmy Ruffin – he didn’t find himself summarily dropped, instead being given further chances and going on to record two more singles with Motown. None of them, though, are quite this good. (8)
48. Sherri Taylor & Singin’ Sammy Ward: “That’s Why I Love You So Much”
Every bit as good as the A-side, boosted by a jangling guitar backing and the fun the two singers are evidently having (meaning that this time, there are shades of Marvin and Tammi to be enjoyed). (6)
47. Sherri Taylor & Singin’ Sammy Ward: “Oh Lover”
It’s not exactly Marvin and Tammi, but nobody’s claiming that; what it is is plenty of fun, and there’s extra satisfaction to be gained from knowing this is the record that started Motown down the duet path. (6)
43. The Miracles: “Shop Around”
Not as good as some of their previous singles – Bad Girl and especially Way Over There are better than this one, all told – but it’s great fun nonetheless, quite aside from it being Historically Significant both for the Miracles and in the grand scheme of the Motown story. (7)
42. Singin’ Sammy Ward: “Who’s The Fool”
Ward’s achievement in scoring an important early Motown hit record seems to have been largely overlooked by history, so I’m going to put one in the “win” column for him here and now. Well done, Singin’ Sammy.
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