Smokey Robinson & The Miracles: Going To A Go-Go - 1965

 

Along with 1967’s Make It Happen, this album, from 1965, is probably the only other truly credible Smokey Robinson & The Miracles album i.e. one not blighted by cover versions, something that was true of so many sixties Motown albums. As Motown male vocal groups went, however, it was always The Temptations and The Four Tops for me, before Robinson & The Miracles. This is a fine album, though. 

The album kicks off with three copper-bottomed Robinson classics in the iconic The Tracks Of My Tears, the catchy drum-powered and irresistibly catchy Going To A Go-Go and the sumptuous romantic ballad Ooh Baby Baby which showcased Robinson’s unique high-pitched voice. That was some start to the album. 

Maybe it is because I have loved the song for over fifty years now but The Tracks Of My Tears just stands out on the album as being just so damn perfect. A copper-bottomed classic for you here, oneI have loved this for what seems like my entire life. Marv Tarplin's guitar intro, Smokey's wonderfully expressive voice, the lovelorn lyrics. Everything about it is goddamn perfect. Nothing more to say other than this was Smokey's best, by a mile, and there was stiff competition too. Unbelievably, it was another song not initially rated by Berry Gordy. That old majordomo seemed to get it wrong on the big hits, didn't he? Notoriously so. The song was also covered by Gladys Knight on her 1968 Silk 'n' Soul album. Good as Gladys is, though, nothing can match Smokey's version.

From those wonderful rolling, opening drum notes, Going To A Go-Go is a corker of a track that has The Miracles at their most down 'n' dirty. It is totally different from The Tracks Of My Tears and My Girl Has Gone. The song has been notably covered live by The Rolling Stones on their 1982 Still Life album. Smokey's original version here is packed full of get-up-and-dance verve and saw the group at their liveliest and most rhythmic in a real punchy way.

Ooh Baby Baby is a classic Smokey slowie that showed off his marvellous falsetto to great effect. One cannot deny its sheer effortless, orchestrated class but it has never been one of my favourites. I tend to prefer my Smokey more upbeat. That's what I get on the faster, poppier 'b' side All That's Good. It's got a great saxophone solo mid-song too. It is a song with a typical Robinson structure - a bit like The Way You Do The Things You Do and it appears here in slightly extended form. On both these songs, the lyrics once again capture my attention. Smokey was such a wordsmith. 

My Girl Is Gone was a re-write of The Tracks Of My Tears, for sure, but an excellent one it was too. It achieved virtually the same chart position as its predecessor as well. There is something just so infectiously appealing about it that I struggle to properly describe. I just know it when it hear it. Something to do with Smokey's mellifluous voice. 

In Case You Need Love is a quirky, semi-funky staccato number featuring some parping saxophone too. The sound quality on this one is noticeably better than on the previous track. 

Choosey Beggar is a polished ballad that typifies Robinson’s ability to make seemingly mundane lyrics sound very clever. “I’m a choosey beggar and you’re my choice” somehow sounds great in his hands. He was a master pop lyricist. 

Since You Won My Heart sounds retro - very early sixties, but there is still something so beautifully attractive about it. Once more, Smokey's lyrics are just so good. He nails those rhymes - so erudite. I love the rhythm of the song too. From Head To Toe is, forgive the phrase, utterly toe-tapping with its jazzy beat. Elvis Costello & The Attractions covered it in 1982, as did Chris Clark for Motown in 1967.

My Baby Changes Like The Weather is a lively, Northern Soul-ish number with a superb bass line driving it along. Let Me Have Some is also upbeat and infectious. A Fork In The Road ends the album with a slow, immaculately-delivered ballad. 

This was an album loaded with classic Motown pop and, for a mid-sixties Motown album, was pretty impressive, both musically and sonically.

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