4 Unforgettable Songs That Helped Motown Own the Music World in 1966

Motown stood tall as one of the most dominant forces in the music world in the 60s. Even in the midst of a rock music boom, the label rode high thanks to a roster of stellar artists and brilliant musicians, writers, and producers behind the scenes.

Videos by American Songwriter

The year 1966 represented a particular high point for Motown. These four songs offered wonderful examples of what this label could do.

“Reach Out (I’ll Be There)” by The Four Tops

It seemed like each of Motown’s top acts brought something a little bit different to the table. The Four Tops, for example, boasted the inimitably gruff, powerful lead vocals of Levi Stubbs. Stubbs didn’t necessarily need the best material to make a song memorable. But when he got hold of something special like the No. 1 hit “Reach Out (I’ll Be There)”, written by Motown’s aces Brian Holland, Lamont Dozier, and Eddie Holland, the effect could simply overwhelm you. The song takes you on a journey, with the backing Tops’ smooth, steadfast “reach out” refrains contrasted brilliantly by Stubbs’ anguished cries.

“You Can’t Hurry Love” by The Supremes

Holland-Dozier-Holland were at it again on “You Can’t Hurry Love”, one of The Supremes’ signature songs. They received inspiration for the theme from a 50s gospel song called “(You Can’t Hurry God) He’s Right On Time”. From there, they turned it into a piece of motherly advice, building on the template set by The Shirelles’ “Mama Said”. As a lead vocalist, Diana Ross possessed an innate ability to modulate her performance in tune with what the lyrics needed from her. Don’t forget about the Funk Brothers’ immaculate backing, highlighted here by James Jamerson and his bass line for the ages. The song topped the pop charts for The Supremes in ’66.

“Ain’t Too Proud To Beg” by The Temptations

For the most part, Motown head Berry Gordy was extremely adept at not only choosing which material had hit potential but also deciding which of the label’s artists should tackle each particular song. But he nearly whiffed on “Ain’t Too Proud To Beg”. The song failed multiple times to get the go-ahead from Gordy to be assigned to an artist. Norman Whitfield, who co-wrote it with Eddie Holland, kept after it. The Temptations eventually recorded it, and Whitfield decided on a key that pushed lead singer David Ruffin to his limits. Smart move, as Ruffin strained his way to an unforgettable performance on what became a Top 20 pop hit.

“Uptight (Everything’s Alright)” by Stevie Wonder

There are pop music prodigies, and then there’s Stevie Wonder, all alone in a class of his own. After all, can you imagine another 15-year-old delivering the kind of assured, mature performance that Wonder summoned on this No. 3 single? By that time, his voice had already assumed the form that it would hold for pretty much his entire adult career, which certainly helped matters. Don’t forget that Wonder was also getting it done as a composer. He had the basic licks and lyrical hook that undergirds “Uptight (Everything’s Alright)”. Co-writers Sylvia Moy and Henry Cosby helped him polish it all off so that he could essentially begin an exciting new phase in his career.

Photo by Everett/Shutterstock