MARY WELLS - MY GUY / THE TEMPTATIONS - MY GIRL

MARY WELLS -MY GUY 

Released : March 13, 1964

Charted:  UK: #5     US: #1 (2 weeks)

"My Guy" is a 1964 hit single by American singer Mary Wells, written and produced by Smokey Robinson. The song is a woman's rejection of a sexual advance and affirmation of her fidelity to her boyfriend, who is her ideal and with whom she is happy, despite her ordinary physique and looks. This is a celebration of a strong and loyal love. It stresses the singer's unwavering commitment to her guy and the belief that no one else can replace him in her heart. It serves as a testimony to the power of a deep emotional connection and the ability to find happiness in a genuine relationship. Robinson wrote a song similar to "My Guy" from a male perspective that was a huge hit for The Temptations: “My Girl”. 

Mary Wells' smash hit "My Guy" was her last solo recording for Motown. She became recognized as "The Queen of Motown" until her departure from the company in 1965, at the height of her success. The first female star for the record label, she also became the first to dare to leave when 20th Century Fox wooed her with a $200,000 advance and potential movie roles. She officially left in 1965. Motown mogul Berry Gordy allegedly coerced radio stations into keeping Wells' new records off the airwaves, but she still scored a hit with "Ain't That the Truth" and "Use Your Head." Nevertheless, her relationship contract with 20th Century Fox dissolved the following year. She bounced from label to label and eventually retired from music in 1974 to raise her family.

This was the song that broke up The Beatles famous monopoly on the Top 5 US chart positions in May of 1964. Mary Wells receive a recognition after her death when "My Guy" was inducted into the Grammy Hall of Fame in 1999.

THE TEMPTATIONS - MY GIRL

Released : December 21, 1964

Charted:  UK: #2     US: #1 (1 week)

"My Girl" is a song recorded by the Temptations written and produced by the Miracles members Smokey Robinson and Ronald White. It became the Temptations' first U.S. number 1 single, and is currently their signature song. Robinson's inspiration for writing "My Girl" was his wife, Miracles member Claudette Rogers Robinson. The song was included on the Temptations 1965 album The Temptations Sing Smokey. In 2017, the song was selected for preservation in the National Recording Registry by the Library of Congress as being culturally, historically, or artistically significant.

This song was written in the Apollo Theater when The Temptations were playing as part of a package tour with The Miracles. According to Robinson, he was working out the song on a piano at the theater when his bandmate Ronald White joined him and they hashed out the song. When The Temptations heard it, they convinced Robinson to let them record it instead of The Miracles. Robinson, who was Berry Gordy's right-hand man at Motown agreed, and rehearsed the song with The Tempts over the next week. When they returned to Detroit, Robinson and White produced the session when they recorded this song.

Robinson explained that he wrote this with David Ruffin's voice in mind. It was the first Temptations single to feature Ruffin on lead vocals (Eddie Kendricks and Paul Williams sang lead on previous Temptations singles), and it led to a greater role for Ruffin, as he became their primary lead singer. Robinson went on to write many more hits for The Temptations, who were considered the most talented vocal group at Motown.

Members of the Motown house band The Funk Brothers played on the track. The song has a very simple but effective arrangement, which was charted by Paul Riser. It opens with James Jamerson's bassline, then goes into the ascending guitar figure played by Robert White (not to be confused with the song's co-writer/producer, Ronald White). Finger snaps come in, then drums played by Benny Benjamin and strings provided by the Detroit Symphony Orchestra. The arrangement accentuates the vocals, making the words very easy to understand. This served as a template for future Temptations recordings and helped make them stars, as attention was always focused on stage on the singers.

The song was re-released in 1992, following the November 1991 release of the film of the same name, which featured the song. It did not reach the Billboard charts, but did reach number 2 in the UK Singles Chart.

 

THE SUPREMES - YOU CAN’T HURRY LOVE / COME SEE ABOUT ME 

YOU CAN’T HURRY LOVE

Released : July 25, 1966

Charted:  UK: #3    US: #1 (2 weeks)

"You Can't Hurry Love" is a 1966 song originally recorded by the Supremes on the Motown label. It was released as the second single from their studio album “The Supremes A' Go-Go”.

Written and produced by Motown's main production team, Holland–Dozier–Holland, "You Can't Hurry Love" is one of the signature Supremes songs, and also one of Motown's signature releases. Billboard described the single as "the group's most exciting side to date" with "top vocal" and "exceptional instrumental backing.”

Eddie Holland came up with the title to Brian Holland's melody for this song. Lamont Dozier recalled in 1000 UK #1 Hits by Jon Kutner and Spencer Leigh: "We were trying to reconstruct 'Come See About Me' and somehow it turned into 'You Can't Hurry Love.' It was basically a gospel feel we were after."

A cover by Phil Collins reached US #10 and UK #1 in late 1982. His version was used as the main theme for the 1988 film of the same name, and inspired Andy Rourke's bass in The Smiths' "This Charming Man." Such was his love for the label that Phil inscribed "Motown, we salute you" on the sleeve of the album Hello, I Must Be Going, which included "You Can't Hurry Love." In addition, his black-and-white video showing three Phil Collinses standing in a line was a homage to The Supremes.

This was the first of a second string of consecutive #1 American hits for the Supremes. At the end of 1964 and into 1965, they charted five consecutive #1s. In 1966, starting with "You Can't Hurry Love," they charted four more.

COME SEE ABOUT ME

Released : October 27, 1964

Charted:  UK: #27    US: #1 (2 weeks)

"Come See About Me" became third of five consecutively released Supremes songs to top the Billboard pop singles chart in the United States (the others being "Where Did Our Love Go", "Baby Love", "Stop! In the Name of Love" and "Back in My Arms Again").

The song was written and produced by the Motown team of Eddie Holland, Lamont Dozier and Brian Holland. The songs they wrote for The Supremes dealt with matters of the heart. "Come See About Me" finds Diana Ross in a bad spot: she gave up her friends to be with a guy, and now he's gone too. She asks him to come back, sure that once he comes back around she can make him hers.

On December 26, 1964, this was bumped off the top spot in the US by the Beatles song "I Feel Fine", which stayed there for three weeks before getting toppled by "Come See About Me", which returned to the top on January 16, 1965.

One month after this song's release (and two days after Christmas), The Supremes performed this song while making their debut guest appearance on The Ed Sullivan Show. The Supremes would go on to appear 19 more times on show, which is more than any other pop act.

 

FOUR TOPS - I CAN’T HELP MYSELF / IT’S THE SAME OLD SONG

I CAN’T HELP MYSELF

Released : April 23, 1965

Charted:  UK: #10     US: #1 (2 weeks)

The song was written by the wildly successful Motown team of Lamont Dozier, Brian Holland and Eddie Holland. The melody of this song is very similar to "Where Did Our Love Go," which Holland-Dozier-Holland wrote for The Supremes. According to Lamont Dozier, the title came about because he couldn't help himself from working with the same tune.

Lamont Dozier told the story behind this song: "I stayed with my grandmother when I was a kid. She owned her own home beauty shop, and when the women would come up the walkway to get their hair done, my grandfather would be pedaling around in the garden. He was a bit of a flirt, and would say, 'How you doin', sugar pie? Good morning, honey bunch.' He was one of those types of guys. My grandmother had a big bay window to the front of the house. She'd say, 'Look at that old codger - he thinks I don't see. I know what he's doing.' He was just flirting with his big smile. I'm sitting there on the porch watching this - I'm probably 11 or 12. I was like a sponge, soaking it up. Years later, at Motown, I'm sitting at the piano. I'd take these mind trips back to my childhood, and I'm trying to see what this piano part is telling me. Sure enough, there my grandfather is, pedaling in the garden. That memory comes to my mind's eye, and I know where the song is supposed to go. I hear him saying, 'Good morning, sugar pie. How you doin', honey bunch?' That's what started it."

Like many listeners who felt the lyrics were a little too sugary, lead singer Levi Stubbs hated this song - the quartet cut it at the insistence of producer Brian Holland. After recording the song, Stubbs was still upset. Holland reassured him that they could re-record it the following day, but there was no second try and take 2 was released as the single.

This was the first US #1 hit for The Four Tops, and it was a big one, topping the Hot 100 for two weeks and the R&B chart for an amazing nine. In the UK, this was the group's first single, issued with their American Motown debut, "Baby I Need Your Loving," as the B-side. It was released to coincide with their first European tour in the summer of 1965, and reached #23. In 1970, it was re-released in the UK and hit #10.

I’TS THE SAME OLD SONG

Released : July 9, 1965

Charted:  UK: #34    US: #5 

"It's the Same Old Song" was recorded by the Four Tops for the Motown label. It was released in 1965 as the second single from their second album. Written and produced by Motown's main production team Holland–Dozier–Holland, the song is today one of The Tops' signatures, and was reportedly created from initial concept to commercial release in 24 hours.

The Four Tops were signed to Columbia Records in 1960, releasing just one single - "Ain't That Love" (written by their lead singer, Levi Stubbs) - before moving on to Riverside Records and eventually joining Motown in 1963. As "I Can't Help Myself" was coming off the charts, word got out that Columbia was going to re-release "Ain't That Love" to capitalize on the group's sudden success. Motown head Berry Gordy made a big push to thwart this, and put the rush on a new song. Fortunately, Holland-Dozier-Holland were very good at reworking their hits - they did it the previous year when they followed up their Martha & The Vandellas smash "Heat wave” with the copycat "Quicksand." The Four Tops were also up for the task, as they were one of the most seasoned Motown acts. HDH quickly wrote the song, and on Thursday, July 8, it was furiously recorded and pressed. It was delivered to radio stations the next day, and by that Monday, it was in stores. Columbia did issue "Ain't That Love," but it stalled at #93 on the Hot 100.

This was the follow-up to The Four Tops' big hit "I Can't Help Myself (Sugar Pie Honey Bunch)". It's common practice for groups to record a sound-alike to capitalize on the success of a hit, but this one is so similar that even the title is a nod to its similarity - it's "the same old song." But there's a reason why Holland-Dozier-Holland are one of the most successful songwriting teams ever assembled: even their knock-off hits had deeper meanings, and in this case it's a song about heartache, as The Tops sing about hearing a song a different way after a breakup. Many listeners who felt the "sugar pie, honey bunch" of "I Can't Help Myself" was a little too sweet preferred the more poignant lyrics of "It's the Same Old Song."

"It's the Same Old Song" is very similar in melody and chord progressions to "I Can't Help Myself", which in turn is even more similar in melody and chord progressions to "Where Did Our Love Go" by the Supremes, who covered "It's the Same Old Song" in 1967.

 

THE TEMPTATIONS - PAPA WAS A ROLLING STONE

Publicació: 28 de setembre de 1972

Llistes: Regne Unit: #14   EUA: #1 (1 setmana)

"Papa Was a Rollin' Stone" va ser escrita per Norman Whitfield i Barrett Strong el 1971. Va ser gravada per primera vegada per The Undisputed Truth, però Whitfield també va fer que The Temptations l'enregistressin amb molt més èxit.

La cançó "Papa Was a Rollin' Stone" parla d'un pare que va viure una vida errant i mai es va establir en un sol lloc. El cantant, que és fill del pare en qüestió, no el va conèixer mai abans de la seva mort. Busca respostes de la seva mare sobre l'estil de vida del seu pare i per què mai el va conèixer. La mare confirma que el pare no va ser mai del tipus d’establir-se en un lloc i que va tenir una altra dona. A més, mai no va tenir feina i es passava el temps bevent i perseguint dones amb les que va tenir molts fills. El pare també afirmava estar implicat en la predicació i la salvació d'ànimes, però tot era una façana. Les accions del pare no van deixar a la família més que problemes i solitud. La lletra transmet una sensació de decepció i dolor cap al pare, que mai va estar allà per a la seva família.

Una història que es difon sovint i que es relata a la minisèrie de 2001 The Temptations tracta els versos d'aquesta cançó:

It was the 3rd of September

That day I'll always remember

'cause that was the day

That my daddy died’.

(Era el 3 de setembre

Aquell dia sempre el recordaré

perquè aquell era el dia

Que el meu pare va morir’)

La història diu que el cantant principal Dennis Edwards odiava la cançó i es va indignar quan va escoltar aquesta frase, ja que el seu pare va morir en aquella data i va pensar que Norman Whitfield va posar-ho per incitar-lo. Aquest relat donaria per a un bon drama, si no s’hagués exagerat considerablement. El pare d'Edwards va morir el 3 d'octubre, i ell era qualsevol cosa menys un Rolling Stone com el de la cançó. L'ancià Edwards va ser un ministre que va donar al seu fill una bona educació. Whitfield va triar la data simplement perquè encaixava bé a la cançó i no tenia ni idea de quan havia mort el pare d'Edwards.

La versió de l'àlbum dura 11:46. El senzill va ser llançat amb la cançó dividida en dues parts: la cara A és la versió vocal i dura 6:58; la cara B és l'instrumental i s’allarga fins 4:49. Fins i tot retallada per al llançament en single, la cara A era excepcionalment llarga i segueix sent un dels numero 1 més llargs de la història del Billboard Hot 100. No va ser, però, el número 1 més llarg de 1972, aquest va ser "American Pie" de Don McLean, que va arribar a una durada de 8:33. Les dues cares del senzill van ser premis Grammy. La cara A va guanyar el premi a la millor interpretació vocal de R&B per un duo, grup o coral, i la cara B va guanyar el premi a la millor interpretació instrumental de R&B.

THE TEMPTATIONS - PAPA WAS A ROLLING STONE

Released : September 28, 1972

Charted:  UK: #14    US: #1 (1 week)

"Papa Was a Rollin' Stone" was written by Norman Whitfield and Barrett Strong in 1971. It was first recorded by The Undisputed Truth, but Whitfield also had The Temptations record it, with much greater success.

The song "Papa Was a Rollin’ Stone" is about a father who lived a life of wandering and never settling down in one place. The singer, who is the son of the father in question, never got to meet him before his passing. He seeks answers from his mother about his father's lifestyle and why he never knew him. The mother confirms that the father was never the type to settle down in one place and he had many outside children and another wife. Additionally, he never held down a job and spent his time drinking and chasing women. The father also claimed to be involved in preaching and saving souls, but it was all a façade for his leeching and stealing. The father's actions left the family with nothing except loneliness. The lyrics convey a sense of disappointment and hurt towards the father, who was never there for his family.

A story that is often circulated and is recounted in the 2001 miniseries The Temptations deals with the lines of this song:

It was the 3rd of September

That day I'll always remember

'cause that was the day

That my daddy died’.

The story goes that lead singer Dennis Edwards hated the song and was incensed when he heard this line, since his father died on that date and he thought Norman Whitfield put that in to goad him. This tale made for good drama, but was considerably overblown. Edwards' father actually died on October third, and he was anything but a rolling stone. The elder Edwards was a minister who gave his son a good upbringing. Whitfield chose the date simply because it fit well in the song; he had no idea when Edwards' father had died.

The album version of this song runs 11:46. The single was released with the song split into two parts: the A-side was the vocal version and runs 6:58; the B-side is the instrumental and goes 4:49. Even truncated for single release, the A-side was exceptionally long and remains one of the longest chart-toppers in Hot 100 history. It was not, however, the longest #1 of 1972 - that was Don McLean's "American Pie", which clocked in at 8:33. Both sides of the single was Grammy awards. The A-side won for Best R&B Vocal Performance By A Duo, Group Or Chorus, and the B-side took the award for Best R&B Instrumental Performance.