The Complete Motown Singles Vol. 6: 1966
In 1966, Motown went all-out for sheer pop quality - song after song. They dropped the novelties and, to a great extent, the dabbling in other sub-genres - at least for a while. Berry Gordy wanted every release the hit the top spot. A lofty ambition indeed. Of course, he didn't achieve it with all of them, but listening to one great song after great song in this seminal collection, I realise that he succeeded far more than he failed. Furthermore, even the failures are quality. That is something for a label to achieve, isn't it?
My, what a wonderful year for Motown this was. It was the year of The Four Tops, (Diana Ross &) The Supremes, The Temptations and The Isley Brothers, less so for Smokey Robinson & The Miracles or Marvin Gaye, surprisingly.
The quality on show here barely lets up at any point. This is possibly the definitive, signature collection in the whole series. Just look how many "star hits" I have awarded. More on here than on any other in this excellent collection, I'll wager.
⭐ Star hits
💠Hidden gems
Disc One
Martha Reeves & The Vandellas - My Baby Loves Me/Never Leave Your Baby’s Side
It was a change from Martha’s usually more uptempo material, however, as was the equally sensual and emotive 'b' side, Never Leave Your Baby’s Side. It has a very early/mid sixties feel about it. Grandiose, almost cinematically-delivered soul.
Brenda Holloway - Together 'Till The End Of Time
The most notable artist from Motown's first West Coast studio was the sultry balladress Brenda Holloway. Written by Frank Wilson, Brenda admitted to having a real connection to Wilson's songs. She certainly shows that connection here. She sings it beautifully, with a fine sound quality too.
The Isley Brothers - This Old Heart Of Mine/There's No Love Left ⭐
The Four Tops, ironically, recorded the slower but equally robust There's No Love Left for their 1966 On Top album. The Isleys' version almost matches the iconic 'a' side for energy and enthusiasm. A great double header here for us to enjoy.
Marvin Gaye - One More Heartache/When I Had Your Love ðŸ’
One More Heartache is an excellent, uptempo Marvin Gaye song, enhanced by some fine saxophone mid-song, it kicks groovy ass from the outset. Written by Smokey Robinson, it is a rhythmic cousin to his Ain't That Peculiar, also a hit for Gaye.
When I Had Your Love has a distinctive, Chinese-influenced keyboard riff that is almost clichéd. Why the Chinese thing is not clear. What is obvious, though, is it is an attractive Robinson song once more. Another excellent pair of songs. Neither are that well-known anymore these days, so they qualify as hidden gems.
The Four Tops - Shake Me, Wake Me (When It's Over)/Just As Long As You Need Me ⭐
1966 was very much the year of The Four Tops - along with The Supremes - and they deliver a couple of killers here, both of which became loved on the Northern Soul circuit. The 'a' side is superb - gritty but groovy. The 'b' side is understated in its appeal, slower, but sensual in its tone, featuring some nice saxophone. It made for a Northern Soul mid-set favourite.
The Temptations - Get Ready/Fading Away ⭐
The lush mid-tempo ballad Fading Away - also a Smokey song - like Get Ready, also featured Eddie Kendricks on lead vocals, for what would actually be the last time for a while. It would soon be David Ruffin time.
Kim Weston - Helpless/A Love like Yours (Don't Come Knocking Every Day) ⭐
A Love like Yours (Don't Come Knocking Every Day) was on Martha Reeves & The Vandellas' 1963 Heat Wave album. Kim does it justice with another top notch performance. It is a really catchy song, particularly on the chorus. It exemplifies how even Motown's 'b' sides were corkers.
The Monitors - Greetings (This Is Uncle Sam)/Number One In Your Heart ðŸ’
As we know, Motown shied away from political statements on the whole, but they made an exception here with one of their first anti-war protest songs. The whole "I don't want to go to Vietnam/what's the point of the fighting?" sentiment was gaining ground, rapidly. It is actually a sad song underneath its vaguely comic drill sergeant parody but musically, its doo-wop sound was somewhat dated by 1966.
Number One In Your Heart is actually much better - an uptempo stomper of a number which has the three guy/one girl outfit singing their hearts out. It has a sort of Northern Soul meets upbeat rock and blues vibe to it and it is this side of the 45 that qualifies as a hidden gem.
Marv Johnson - I Miss You Baby (How I Miss You)/Just The Way You Are
Early sixties Motown founding father Marv Johnson surprisingly returned with some material of his own. The 'a' side is a strong, punchy, brassy serving of solid soul. It is a floor filler of a number. Just The Way You Are, written solely by Johnson himself, is slower and nicely stringed. It showed that Johnson had absorbed something over his years at the Motown studios - the orchestration is most endearing and displays considerable nous.
Connie Haines - What's Easy For Two Is Hard For One/Walk In Silence
Connie Haines was a forties balladress and here she delivers a Smokey Robinson in fine style. She was white - I have to point that out as it was unusual at Motown at the time - and quite wha she was doing at Motown is unclear, but I like the song - her voice is both strong and sweet and it's a good song. Walk In Silence is a string-backed showtime-style stagey song. Very anachronistic. The lady could sing, though.
Frances Nero - Keep On Lovin' Me/Fight Fire With Fire ðŸ’
Fight Fire With Fire is a groovy little number telling girls to get their romantic act together and stand up for themselves. It has a bit of an early sixties vibe to it but not too much of one to make it sound dated. It still bops along pleasantly.
Disc Two
Jr. Walker & The All-Stars - (I'm A) Road Runner/Shoot Your Shot ⭐
Shoot Your Shot is equally infectious for the same reasons as detailed above. I love that funky organ to distraction and Jr.'s voice is gruffly delicious. As for his sax, well, do I need to say more? The sound quality is also boomingly beautiful on this as well. Same as for (I'm A) Road Runner. Turn it up!
Shorty Long - Function At The Junction/Call On Me ðŸ’
Talking of down 'n' dirty party vibes. Little Shorty Long serves up something to savour on the seriously cookin' bluesy soul of Function At The Junction. Call On Me is a short, gospelly, Sam Cooke-ish ballad.
The Spinners - Truly Yours/Where Is That Girl ðŸ’
Better-known in the UK as The Detroit Spinners, here we have two copper-bottomed hidden gem killers. Both have totally singalong choruses. I love both songs, but Where Is That Girl particularly does it for me. I love the emotive lead vocal, something about its melodic tone. The Spinners were much underrated. Check out their two early Motown albums - The Original Spinners and 2nd Time Around - both are packed full of great songs.
Stevie Wonder - Nothing's Too Good For My Baby/With A Child's Heart
With A Child's Heart (also co-written by Moy) showed that the still young Stevie could really handle a ballad with a maturity way beyond his years. This one is a big, powerful brassy number, despite its slow pace. Stevie was dealing in quality now too, not just tub-thumpers.
The Marvelettes - You're The One/Paper Boy
You're The One is a Smokey Robinson song (again1), a smooth ballad that features the very underrated (again!) Wanda Young Rogers on lead vocals. Despite being a slowie, the song has a robust drum backing and some fine organ and brass breaks. It is very much an archetypal Motown mind-pace number. A ballsy ballad. Wanda Young Rogers was up there with Gladys knight and Martha Reeves as one of the strongest female voices Motown had. The Marvelettes should have been far more successful, but, try as I might, I have so much trouble differentiating them from The Velvelettes!
Paper Boy is a wonderfully goofy little groover of a song, very much harking back to the Buttered Popcorn days of 1962-63 when "fun", upbeat songs were de rigeur. I love it, but it is just a little dated in its sound, I have to admit.
Tammi Terrell - Come On And See Me/Baby Doncha Worry
Baby Doncha Worry has a lead-off bassline and vocal melody that is straight out of Ben E. King's Stand By Me. As soon as I heard it, at the point that Tammi sings "when the dawn comes over the mountain and the valley is filled with dew" I said "Stand By Me". I'm sure most people would do the same. It matches the "when the night" vocal intro. Anyway, the song is a goodie, with some fine brass breaks and a most soulful vibe.
The Mynah Birds - It's My Time/Go On And Cry ðŸ’
Now for a total rarity and a nugget at that! On guitar is none other than Neil Young! On vocals is Rick James. It's My Time is great. It has that garage rock feel to it and reminds me of both new wave and BritPop material. It really reminds me of something that I can't put my finger on - how often does that happen?
Go On And Cry puts me in mind of The Rolling Stones' ballads from the same period and James's vocal at one point sounds so like John Lennon circa 1963-64. Believe me, this 45 is genuine deep cut/hidden gem territory. Quite what Motown were doing with it is mystifying.
Chris Clark - Do I Love You (Indeed I Do) ðŸ’
The excellent white singer Chris Clark adds her vocals to Frank Wilson's now iconic Northern Soul classic. The song is great, the backing great, Chris's vocals great. Nothing more to say, Love it. Yes sir! What a good singer she was. The song cooks from beginning to end.
(Diana Ross &) The Supremes - Love Is Like An Itching In My Heart/He's All I Got ⭐
The 'b' side, He's All I Got is an absolute stonker of a hidden gem. It was also a Northern Soul favourite. It is uptempo in the style of Back In My Arms, pounding away from the first beat and featuring all three girls at their very best, vocally. I can't praise it enough. Love that deep, rumbling and melodic bass. Both of these tracks, in fact - what a stunning 45.
The Contours - Just A Little Misunderstanding/Determination ⭐
Talking of Northern Soul floor fillers, well here's another one. Originally intended for Marv Johnson, The Contours give Just A Little Misunderstanding absolutely everything they've got. It is a superb Motown single and one that rarely gets a place in any of those "best of Motown" lists that people make. It should be right up there, for me, it thumps and stomps in singularly wonderful fashion. Lyrically, it's great too. One of my favourites of all time, without question. The great James Jamerson drives the track along on his bass so wonderfully, doesn't he? Was he the goat of bassmen? Quite possibly.
Determination was equally beautiful, bass-wise as it grinds along in a bluesy Jr. Walker fashion. It was first recorded by The Miracles as far back as 1961. It doesn't sound dated here, however.
The Isley Brothers - Take Some Time Out For Love/Who Could Ever Doubt My Love ⭐
Who Could Ever Doubt My Love is less lively, being mid-pace, but it has a strong and melodic feel to it, with a good chorus and a fine lead vocal. Both of these tracks featured on the album This Old Heart Of Mine, which was a good one.
Marvin Gaye - Take This Heart Of Mine/Need Your Lovin' (Want You Back)
Marvin remained with Smokey Robinson on Take This Heart Of Mine. It is another lively little number with that intrinsic Smokey boppiness. The song has a slightly punchier alternative mix but neither were hits. Compared to the success of The Four Tops and The Supremes, however, Marvin remained mystifyingly unsuccessful (comparatively). He didn't get taken on the multi-artist Motown tours of the UK, much to his disappointment. Marvin's time would come, it just wasn't quite yet. Amazing to think that at this time he was Motown 2nd division, though, isn't it?
Need Your Lovin' (Want You Back) is a bluesy groover that had also been recorded by The Originals in 1965. Marvin's vocal is effortlessly pleasing.
Disc Three
Temptations - Ain't Too Proud To Beg/You'll Lose A Precious Love ⭐
One of my favourite Motown songs of all time. David Ruffin's lead vocal on it is simply stunning. He was the ideal choice to lead the song. It has been covered by The Rolling Stones and I once memorably found myself a couple of yards away from Mick Jagger as he sang it on a raised podium at London's O2 centre. Did you need to know that? Not really, but I've told it anyway.
You'll Lose A Precious Love has the group showcasing their old doo-wop harmonies to great effect, particularly on Melvin Franklin's deep, warm bass parts.
The Four Tops - Loving You Is Sweeter Than Ever/I Like Everything About You ⭐
The hits keep on a-comin' with another strong one from The Four Tops. I didn't realise until recently that it is Stevie Wonder on the drums. James Jamerson's bass and Levi Stubbs' emotive vocal are both as impressive as ever. Taken from the Four Tops' Second Album from the year before, I Like Everything About You is the equal of its 'a' side. It is a poppy, uptempo serving of typical 1965-66 Motown.
Martha Reeves & The Vandellas - What Am I Going To Do Without Your Love/Go Ahead And Laugh
What Am I Going To Do Without Your Love was a rarity - an unremarkable song for Martha and the girls. It chugs along without really getting anywhere or possessing any real, catchy hook. The flip side, the ballad Go Ahead And Laugh is ok, but again, it doesn't pull up any trees. It was originally recored by Kim Weston. Not one of their better 45 rpm releases. Sorry. There again, Motown's ordinary is still perfectly acceptable. Listening to them again, I've warmed to them both, actually.
(Smokey Robinson &) The Miracles - Whole Lot Of Shakin' In My Heart (Since I Met You)/Oh Be My Love ðŸ’
The 'a' side here, a Frank Wilson song (not a Smokey one) was a total stomper of a record and should have been a much bigger hit. It is full of ebullience and great harmonies. It qualifies as a hidden gem in my book, albeit coming, surprisingly, in that case, from such a successful artist/group. Oh Be My Love is a smooth, typically lush Robinson-penned ballad.
Jimmy Ruffin - What Becomes Of The Brokenhearted/Baby I've Got It ⭐
Baby I've Got It reminds me of another Motown song but I don't know which one. It's an "ear-worm" right now. I've just realised it's Marvin Gaye's Hitch Hike that I'm reminded of.
Gladys Knight & The Pips - Just Walk In My Shoes/Stepping Closer To Your Heart ⭐
The first appearance for Gladys and the boys on this collection, and it's a corker. Packed full of rhythm and gritty soul it's a triumph. It become more respected subsequently than it was at the time, when it wasn't a big hit. Now, you will find it on most Gladys Knight "best of" lists. It was a Northern Soul fave rave too. Closer To Your Heart is a typical Gladys ballad, but nothing particularly special.
The Isley Brothers - I Guess I'll Always Love You/I Hear A Symphony ⭐
Another great one from The Isleys here, it had the same sort of beat and general production of This Old Heart Of Mine and, maybe de to that, it was deservedly a big hit. I Hear A Symphony was, of course, better known as a massive hit for Diana Ross & The Supremes. The Isleys slow it down to a piano and strings-backed lush ballad, whereas The Supremes did it much faster. Incidentally, The Supremes covered I Guess I'll Always Love You on their Supremes Sing Holland-Dozier-Holland album. All that track sharing was so typically Motown.
The LaSalles - La La La La La/This Is True
Originally recorded by Little Stevie Wonder in 1962, we are into proper deep cut territory here on a lively rock 'n' roll call-and-response piece of bluesy, grinding fun. Get a load of that deep, heavy bassline too. This Is True is an organ-driven song that the group had penned themselves. It sounds a bit like a slowed-down version of The Dave Clark Five's Glad All Over, in places.
Stevie Wonder - Blowin' In The Wind/Ain't That Asking For Trouble ⭐
Ain't That Asking For Trouble is in the upbeat vein of Uptight and Nothing's Too Good For My Baby. Check out Jamerson's bass and Stevie's harmonica too. It is actually the better track of the two, but it didn't have Blowin' In The Wind's gravitas, I guess.
Jr. Walker & The All-Stars - How Sweet It Is (To Be Loved By You)/Nothing But Soul ⭐
Of course, Marvin Gaye had a huge hit with it the previous year, but Walker's was an equally big smash, and benefitted from a grittier, more raw-edged approach in comparison to Gaye's smoother, slicker version. Nothing But Soul was a kick-ass, cookin' saxophone-drenched uptempo instrumental. Pounding pleasure.
Chris Clark - Love Gone Bad/Put Yourself In My Place ðŸ’
Chris Clark finally had an r'n'b hit with this grinder. She apparently based her singing style on it to Wilson Pickett's In The Midnight Hour. She achieved a certain soulfulness so it must have worked.
Put Yourself In My Place was recorded by the Supremes, The Elgins and The Isley Brothers. It's got a great, archetypal Motown sax solo on it and Chris's vocal is suitably solid. She had a great voice and always gave of her best.
Disc Four
(Diana Ross &) The Supremes - You Can't Hurry Love/Put Yourself In My Place ⭐
The Supremes' version of Put Yourself In My Place is ok, but not as good as Chris Clark's (see above).
Marvin Gaye - Little Darling (I Need You)/Hey Diddle Diddle
Marvin Gaye returned to Holland-Dozier-Holland instead of Smokey Robinson for this lively, catchy pop tune. It has those loud female backing vocals that typified many Northern Soul hits. Charting averagely, it is enjoyable and nicely saxophone-enhanced but it lacks a certain special quality. Hey Diddle Diddle is a Gaye-penned number that is also uptempo and attractive. Gaye would not release another single for over a year, however.
The Temptations - Beauty Is Only Skin Deep/You're Not An Ordinary Girl ⭐
Eddie Kendricks took the lead on the pleasant groove of You're Just An Ordinary Girl. The song is not the Kendricks slowie that one may have expected it to be, however - it is brassy, bouncy and breezy. Both sides of this 45 release were infectiously uptempo and poppy.
The Four Tops - Reach Out I'll Be There/Until You Love Someone ⭐
Would you believe the rhyme scheme on this iconic song was inspired by Bob Dylan's contemporary material? The same goes for Levi Stubbs' phrasing too. I would never have thought that, but, listening to it, I can hear it. It's the emphasis on the last words in the verses. Guess what too? You got it - Quality Control had problems with it - Smokey Robinson hated it. What did he know eh? It is possibly the most famous Motown song of all time.
Until You Love Someone was thought to be the better song. It's ok, but Reach Out it isn't! That damn Quality Control, huh?
The Velvelettes - These Things Will Keep Me Loving You ðŸ’
A proper Motown lesser-known gem. I love its vibrancy. It was re-released in the UK in 1971. where it was a big hit. I love the joyous la-la-la-la vocal refrain that dominates the song. Now, I just need to remember that it was The Velvelettes and not The Marvelettes!
Brenda Holloway - Hurt A Little Every Day/Where Were You
Hurt A Little Every Day was a follow-up to Every Little Bit Hurts and is remarkably similar in its title. It is a big, grandiose ballad but doesn't really raise itself above the ordinary, for me. I prefer the bouncier, jauntier Where Were You.
The Elgins - Heaven Must Have Sent You/Stay In My Lonely Arms ⭐
Now for a re-released (in 1971) bona fide piece of Motown Heaven. Dating from 1965, it takes you right back there as soon as you hear it. It reached number three in the UK charts in the late summer of 1971 and invariably appears in Motown "best of" playlists. Classic stuff. The song was originally intended for The Supremes. Stay In My Lonely Arms had appeared on The Four Tops' Second Album. The Elgins do it justice
Brenda Holloway - Play It Cool, Stay In School
A real oddity here, as Brenda tells kids they need to stay in school, get their heads down and graduate. It is lively and attractive enough and its sentiments are laudable, but it still comes across as a tad cheesy. "When you learn more, you're bound to earn more". Really? It didn't work for me!
Barbara McNair - Everything Is Good About You/What A Day
Two other artists who I often get confused are Brenda Holloway and Barbara McNair. Both balladeers I guess. Everything Is Good About You is poppy and attractive. It reminds me of Barry White's It May Be Winter Outside. What A Day is jazzy and carefree, like a Broadway show tune - totally unlike everything else Barbara put out. I really like it. Whenever I hear her, though, I just think about the fact that she posed naked in Playboy magazine! Control yourself, man.
Martha Reeves & The Vandellas - I'm Ready For Love/He Doesn't Love Her Anymore
He Doesn't Love Her Anymore is a slow paced, subtly rhythmic ballad that has a lovey bassline to it. It is full of mysterious atmosphere in its backing. Musically, it is most interesting, but I can't really explain why, just something about it.
(Diana Ross &) The Supremes - You Keep Me Hangin' On/Mother You, Smother You/Remove This Doubt ⭐
Mother You, Smother You is a poppy, breezy number that could easily have been a single in its own right. It reminds me of something else. Someone tell me what! I think it's Terry Johnson's Suzie, actually. Remove This Doubt is a dramatic ballad that was covered by Elvis Costello in 1995 on his Kojak Variety album of covers. It suited him down to the ground. Kudos to him for covering such a relatively obscure song.
Marvin Gaye - The Teen Beat Song
An odd one here - a sung promotion for a newspaper's teen music section performed by Marvin Gaye. It's actually quite brassy and punchy.
Disc Five
(Smokey Robinson &) The Miracles - (Come 'Round Here) I'm The One You Need/Save Me ⭐
Save Me is a mellifluous and pleasant little song, full of melody and Smokey's innate ability to ride smoothly over a catchy tune.
Stevie Wonder - A Place In The Sun/Sylvia ⭐
To the embarrassment of Sylvia Moy, Stevie entitled the 'b' side ballad Sylvia. He said it was just the name he used as they co-wrote the song. She got over it by thinking that her boyfriend had written it for her as opposed to the apparently lovestruck young Stevie. That's ok, then.
Jr. Walker & The All-Stars - Money (That's What I Want) (parts 1 & 2)
Stevie Wonder's Fingertips had led the way in having two sides of a 45 rpm release containing two parts of the same song. Jr. Walker does it here with Barrett Strong's much-covered Money (That's What I Want). Much as I love Jr. Walker, neither side of this party groove particularly gets anywhere. Look, it's perfectly enjoyably in its groovy grind, but it's not Jr.'s best, it's just a bit of a workout jam. I prefer the original.
The Temptations - (I Know) I'm Losing You/I Couldn't Cry I I Wanted To ⭐
The group's old doo-wop harmonious style was revisited perfectly on I Couldn't Cry If I Wanted To, a song that ended up on the group's 1967's With A Little Bit O' Soul album. It wouldn't have sounded out of place on Volumes 1 & 2 of this collection and it provided an ideal contrast to its 'a' side here.
Jimmy Ruffin - I've Passed This Way Before/Tomorrow's Tears ⭐
My goodness, the killers just keep on rolling down the line. This is one of my favourite Motown songs of all time. Never mind What Becomes Of The Brokenhearted, this track positively drips with lovelorn soul and is in possession of a killer chorus. I love it dearly and always will. Up there with Farewell Is A Lonely Sound in the best of Jimmy Ruffin list. Jimmy has said that he wasn't a big fan of it, which is a shame. Either way, you can't tell - he sings it perfectly.
Tomorrow's Tears is a retro-sounding ballad that had an early sixties feel about it. There were actually many other songs from the 1967 Jimmy Ruffin Sings Top Ten album that could have made a better 'b' side, in my opinion.
The Monitors - Since I Lost You Girl/Don't Put Off Till Tomorrow What You Can Do Today
A couple of pretty run-of-the-mill numbers here from The Monitors. I the midst of all these barnstorming 45s, listening to these definitely make me think "2nd division", unfortunately. As I have said before, though, Motown 2nd division is some other's best. Of the two, I prefer the more upbeat 'b' side, but I'm not going to type out its title again!
The Four Tops - Standing In The Shadows Of Love/Since You've Been Gone ⭐
Since You've Been Gone is the kind of upbeat, chunky number that The Tops could do in their sleep. Once again, it came from ThE Four Tops Second Album. It was also recorded by Martha Reeves & The Vandellas in 1967. It is another Motown song that has one of those wonderful, deep mid-song Jimmy Mack-style saxophone soloes.
Marvin Gaye & Kim Weston - It Takes Two/It's Got To Be A Miracle (This Thing Called Love) ⭐
Marvin and Kim had not put out a duet 45 since the minor hit What Good Am I Without You, some fifteen months earlier. They got it together once more here - and how. It would be their biggest, most memorable hit. It would also be Kim's goodbye to Motown. What a way to go, though, it's truly wonderful, isn't it? The 'b' side is slower but no less harmonious and perfectly in sync. I guess Marvin and Tammi were the best of his partnerships, but his one with Kim wasn't far behind. The 45 is total quality. A true stand out. It would be this collection's final stonker.
Earl Van Dyke & The Motown Brass - 6 By 6/(There Is) No Greater Love
Finally on this collection we get some of the sort of material that appeared on many of the other Volumes. The Funk Brothers in another guise lay down a couple of groovy, brassy, rhythmic instrumentals which are sort of like Booker T. & The MG's with added punchy brass. The guys could play, so the cuts are obviously quality and enjoyable, but in such lofty company they are relegated to being "filler". I love the organ sound on the 'b'side, though. Far out, man. Yeah. Austin Powers would love it.
The Originals - Goodnight Irene/Need Your Lovin' (Want You Back)
The Originals had a long history as a group, some members dating back to 1957. Here, they give us an uptempo, pounding version of the old country crooning standard Goodnight Irene. Given the Motown treatment it becomes a different song. The vocalist (not sure which of the group it was) does his best Ronald Isley on the high-pitched "ooohhs". The 'b' side is an enjoyable, but unremarkable serving of mid-pace Motown blues. Incidentally, the group performed uncredited backing vocals on Jimmy Ruffin's What Becomes Of The Brokenhearted.
The Marvelettes - The Hunter Gets Captured By The Game/I Think I Can Change You ðŸ’
1966 had been relatively quiet for The Marvelettes but we get a nice little hidden gem to end up with here as the girls deliver a smoky, jazzy performance on this lyrically inventive Smokey Robinson song. The 'b' side I Think I Can Change was an old 1962 recording with Gladys Horton on lead vocals.
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