Page 1 of 2 It was 53 years ago today that Berry Gordy borrowed 0 from some relatives and founded Tamla Records, a small Detroit label that would eventually lead to Motown Records. We’re so thankful that his family was able to spot him the cash, because without Motown, the musical landscape as we know it today wouldn’t be the same. To honor the legendary label, we’re counting down 25 of its essential tracks. Grab some pals, don some matching suits, dust off your finest choreography and check ’em out below. But first, a few ground rules: 1. These are all songs that were actually released by Motown Records—similar-sounding artists on labels like Atlantic, Chess, Stax and Phillies Records, while fabulous in their own right, don’t count. 2. We tried to limit ourselves to no more than four songs per artist. Sorry if your favorite Marvin Gaye track didn’t make the cut; be sure to let us know what we left out in the comments section below. 25. “ Bernadette” — The Four Tops (1967) The passion in frontman Levi Stubbs’ vocals is palpable, but in case you didn’t pick up on it, he drives it home with the line “ You mean more to me than a woman was ever meant to be.” 24. “ What Becomes of the Brokenhearted” — Jimmy Ruffin (1966) Is it a little overwrought? Sure. Is it still one of the best pop songs ever recorded? You bet. 23. “ Money ( That’s What I Want)” — Barrett Strong (1959) The very first hit record for the Motown empire (and arguably one of its most influential this ditty went on to be covered by a little, up-and-coming British bands like The Beatles and The Rolling Stones. 22. “ Please Mr. Postman” — The Marvelettes (1961) Girl-group perfection, this song took The Marvelettes to the top of the charts right out of the gate. Fun fact: On drums is none other than Marvin Gaye. 21. “ War” — Edwin Starr (1969) Starr was given the chance to record this snarly, iconic protest song.
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It is the sound of growing confidence. Fifty years ago this week, the title track of this album was climbing the top 50 of the Billboard Hot 100, on its way to becoming Marvin Gaye’s biggest single success to date. He had already enjoyed four – count them, four – Top 20 hits in ’64, including two with other tracks contained here: “ You’re A Wonderful One” and “ Try It Baby.” Marvin was not the only one in good spirits. Fellow Motown artists the Supremes were now in possession of back-to-back No. 1 singles, and their third was climbing the charts ahead of “ How Sweet It Is ( To Be Loved By You).” By the end of 1964, the company had a dozen of Top 20 crossover hits to its credit that year, its best showing so far. There was plenty of cheer at that Christmas party. Few albums by any singer, anywhere, open with such a cracking quartet of songs as this. The joy is partly in the contrast: “ You’re A Wonderful One” and “ Baby Don’t You Do It” are high-speed, machine-tooled tracks which couple Marvin’s throaty attack with steel-tipped instrumental work. It’s impossible to hear them and stand still. Meanwhile, “ How Sweet It Is” and “ Try It Baby” are late-night cocktails of rhythm & blues and, yes, jazz. Listen to the swinging piano – either Earl Van Dyke or Johnny Griffith – on both, not to mention the trumpet solo, perhaps rendered by local jazz legend Marcus Belgrave, on “ Try It Baby.” We know that the song’s writer and producer – the boss, Berry Gordy – is a major jazz fan, but these are almost too cool for the room. Marvin, the would-be Nat “ King” Cole of his generation, must have been in his element. The same applied to the Funk Brothers, Motown’s studio band, many of whom were jazz cats. Marvin may not have enjoyed so much the demands on his vocal cords from producers Brian Holland and Lamont Dozier on “ Baby Don’t You Do It.” In fact, you can feel the singer’s.
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