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Posts Tagged ‘the Supremes’

Gladys Knight and the Pips – “If I Were Your Woman,” Pop #9, R&B #1

By Joel Francis
The Daily Record

Relationship fantasies were nothing new at Motown – Mary Wells’ “The One Who Really Loves You” was one of the label’s earliest singles. But Gladys Knight and the Pips’ 1971 single “If I Were Your Woman” shows how much Hitsville had grown up during the ‘60s. The song removes the concept from the realm of schoolgirl crushes and infuses it with some serious grown-up desire.

When “If I Were Your Woman” came out the Pips were on a run of three consecutive Top 5 R&B hits, dating back to 1969’s No. 3 “The Nitty Gritty.” The group was determined to keep this streak intact and also bolster their album sales; none of their LPs had cracked the Top 10. They accomplished both. The single went all the way to the top of the R&B charts, and the album – given the same name – lodged at No. 4.

Knight’s smoky, smoldering voice played no small role in that achievement. Listeners who grew up with “Baby Love” no doubt enjoyed hearing love songs that matured with them. Knight sumptuously plays the role of a woman in love with a man trapped in a bad relationship. Knight knows she can make him the man he deserves to be, if only he could muster the strength to walk away … and she could find the courage to confront him face-to-face.

Knight sings with the passion of a woman pouring out her deepest desires to the darkness, a conviction rooted in the comfort of knowing these words will never face the harsh scrutiny of daylight. As the song fades, it is easy to imagine Knight drifting off to sleep as her would-be beau lies awake in bed next to his partner, wondering how he wound up in this predicament. The next time Knight and her man meet, their only exchanges will be furtive glances across the room and brief, awkward conversation punctuated by nervous laughter.

Written by Gloria Jones, Clay McMurray and Pam Sawyer and produced by McMurray, “If I Were Your Woman” inspired several covers. The Jean Terrell-fronted Supremes recorded a version the following year, in 1972. One year later, Jones – better known as the original singer of the song “Tainted Love,” later recorded by Soft Cell, and girlfriend of T. Rex glam rocker Marc Bolan – recorded her own version for her second solo album.

Bonnie Bramlett, formerly known as half of Delaney and Bonnie, followed suit in 1976. The unfairly ignored Bettye LaVette put her stamp on the song on her only Motown album, 1980s “Tell Me A Lie.” Eight years later Stephanie Mills put the song back on the charts, where it reached No. 19 on the Hot Black Singles chart (now known as the Hot R&B/Hip Hop chart). That same year found the only male interpretation of the number, when George Michael performed it at Nelson Mandella’s 70th birthday tribute. Somehow people were still shocked when he came out of the closet a decade later.

Most recently, Alicia Keys included the song as part of a medley on her sophomore album, and gave it the stand-alone treatment on her 2005 live album “MTV Unplugged.”

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The Supremes – “Stoned Love,” Pop # 7, R&B #1

By Joel Francis
The Daily Record

“Stoned Love” was the Supremes’ biggest hit of the post-Diana Ross era, and with good reason – it sounds like a throwback to the golden Holland-Dozier-Holland age of Motown.

Motown producer Frank Wilson discovered the song when it was played over Detroit radio during a talent search contest. Amazed to find such a mature work had been penned by a local teenager, Wilson worked with Kenny Thomas, the young writer, and arranger David DePitte before presenting the number to Berry Gordy and the Supremes.

In a narrative repeated so frequently it has nearly become a cliché, Gordy hated the song. The reason for Gordy’s dislike is unclear, but there was concern over the title. Thomas and Wilson insisted the title referred to love with a solid foundation, not drug use. The original title, “Stone Love” supports this claim. Somehow the single was mislabeled “Stoned Love” at the pressing plant and the new title stuck.

Just as they had three years ago when the Doors sang “we couldn’t get much higher” on the Ed Sullivan Show, CBS freaked out over the potential reference and cut the song from the girls’ appearance on the Merv Griffin Show.

As usual, the censors paid more attention to the hysteria than the work itself. Wilson’s lyrics call for “a love for each other that will bring fighting to an end/forgiving one another” and challenge for the “young at heart” to “rise up and take your stand.”

The hope-filled lyrics brim with the optimism of youth and could easily turn into treacle. Thomas and DePitte turned them into a great showcase for Jean Terrell’s talents. All elements seem to feed off her emotion, particularly the inspired backing vocals of fellow Supremes Mary Wilson and Cindy Birdsong. Wilson and Birdsong had been banished from the final recording sessions with Ross and they seem extra happy to be operating as a group again.

From the propulsive snare driving the song, down to the swirling strings and display of voices, the arrangement recalls the Supreme’s finest moments with the Holland-Dozier-Holland team. Fans seemed to agree, sending the song to the top of the R&B chart an into the pop Top 10. Again, Gordy’s steadfast, initial instinct had been proven wrong.

The legacy of “Stoned Love” lies more with its title than its tune. Angie Stone incorporated it into the introduction on her “Stone Love” album in 2004, just one of many similar titles it inspired. These include “Stone in Love” by Journey and the smilar “Stoned in Love” by UK dance pop artist Chicane. In 2006 Justin Timberlake released the single “LoveStoned.” None of these songs hold a candle to “Stoned Love.”

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Four Tops – “Still Water (Love),” Pop # 11, R&B #4

By Joel Francis
The Daily Record

The Four Tops needed this.

The departure of Holland-Dozier-Holland was a devastating blow to all of Motown, but the Tops felt it especially hard. “Bernadette” made them the top Motown act in U.K., second only to the Temptations at home. But just when they made it to the top, their songwriters and producers left.

After the HDH exodus, the Tops dabbled on the fringes of psychedelic soul (“It’s All in the Game”), the folk revival (“If I Were A Carpenter”) and covered the Left Banke’s “Walk Away Renee” to solid, but not spectacular results.

Finally, after being passed around to Ashford and Simpson, Ivy Jo Hunter and Norman Whitfield, the tops were paired with Smokey Robinson, who, with Frank Wilson, wrote and produced “Still Water (Love).”

Singer Levi Stubbs opens the track drenched in echo, inviting the listener “Walk with me/Take my hand.” The arrangement has a distinctive Motown touch, filled with a great guitar hook, clavinet and an ornate percussion figure pushed to the front of the mix. As always, the Tops’ vocals are great, and while Stubbs isn’t given much room to cut loose, he still belts a couple notes before the chorus.

“Still Water (Love)” opened the Tops’ 1970 concept album “Still Waters Run Deep,” which inspired Marvin Gaye to compose “What’s Going On.” “Still Water (Love)” was covered by the Jean Terrell lineup of the Supremes in the early ‘70s, and soul singer O’Bryan.

Four Tops – “Still Water (Love),” Pop # 11, R&B #4.

The Four Tops needed this.

The departure of Holland-Dozier-Holland was a devastating blow to all of Motown, but the Tops felt it especially hard. “Bernadette” made them the top Motown act in U.K., second only to the Temptations at home. But just when they made it to the top, their songwriters and producers left.

After the HDH exodus, the Tops dabbled on the fringes of psychedelic soul (“It’s All in the Game”), the folk revival (“If I Were A Carpenter”) and covered the Left Banke’s “Walk Away Renee” to solid, but not spectacular results.

Finally, after being passed around to Ashford and Simpson, Ivy Jo Hunter and Norman Whitfield, the tops were paired with Smokey Robinson, who, with Frank Wilson, wrote and produced “Still Water (Love).”

Singer Levi Stubbs opens the track drenched in echo, inviting the listener “Walk with me/Take my hand.” The arrangement has a distinctive Motown touch, filled with a great guitar hook, clavinet and an ornate percussion figure pushed to the front of the mix. As always, the Tops’ vocals are great, and while Stubbs isn’t given much room to cut loose, he still belts a couple notes before the chorus.

“Still Water (Love)” opened the Tops’ 1970 concept album “Still Waters Run Deep,” which inspired Marvin Gaye to compose “What’s Going On.” “Still Water (Love)” was covered by the Jean Terrell lineup of the Supremes in the early ‘70s, and soul singer O’Bryan.

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Diana Ross – “Ain’t No Mountain High Enough,” Pop #1, R&B #1

By Joel Francis
The Daily Record

This was the moment. For years, Berry Gordy had been grooming Diana Ross to become a star. First he pushed the hesitant child to the forefront of the Supremes, then elevated her to top billing. Now she was on her own.

Ross’ first single, “Reach Out and Touch (Somebody’s Hand)” was a respectable Top 20 hit. For anyone else, it would have been a brilliant success. But at Motown, and especially for Ross, Top 20 was not good enough. She had to top the charts.

For her follow-up effort, Gordy turned to Nick Ashford and Valerie Simpson, who also penned “Reach Out.” Instead of writing a new number, however, the pair reached back to a song that had been a Top 20 hit for Marvin Gaye and Tammi Terrell three years earlier. Their choice wasn’t well received. Ross was hesitant to cut a song that had already been a hit with someone else. Besides, she had also performed the song when the Supremes paired with the Temptations for a television special and album in 1968.

Eventually, Ross was persuaded to record a re-imagined version of the song. While Gaye and Terrell’s arrangement build upon the synergy of their voices, the new vision opens with Ross’ affirmation of love, like a lonely, long-distance telephone call. The backing chorus of Ashford and Simpson, the Andantes and several other Motown studio singers builds slowly in the background underneath Ross’ promises of devotion. By waiting so long to grow into the refrain, the familiar strain is even more powerful.

When the finished track was submitted to Gordy he was not pleased. He thought the song should open with the chorus (an arrangement Ross later used in her live shows). In a story that mirrors Gaye’s recording of “I Heard It Through the Grapevine,” it wasn’t until DJs started cutting down the six-minute album track and playing it on the radio that Gordy finally acquiesced. Just as before, “Mountain” made a major star out of its singer.

“Ain’t No Mountain High Enough” has been played, performed and sampled so often it sometimes feels like a cliché. It seems every time a director wants a feel-good moment when the underdog triumphs they reach for this song (which must make Gordy, Ashford, Simpson and their bankers very happy). When the song reaches ears voluntarily, however, it is still a delight.

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Jackson 5 – “The Love You Save,” Pop # 1, R&B # 1

By Joel Francis
The Daily Record

The process behind the J5’s two previous singles was too successful and irresistible not to try again. And for the third time, the resulting song stuck at the top of the chart.

The product of a Berry Gordy and the Corporation, “The Love You Save” bears more than a passing resemblance to “ABC” and “I Want You Back.” Don’t fall into the trap of writing off the song as a carbon copy, though. “The Love You Save” has a more complex arrangement – it deviates from AABA structure – and greatly benefits from Jermaine’s supporting vocals. Plus it’s just as infectious and fun as the first two singles.

On their tours in the late ‘70s and early ‘80s, the Jacksons combined all three songs in one medley. It was an obvious and surefire idea. Put these three together and you’ve got 10 minutes of music guaranteed to put a smile on the most hardened face and get the most sedentary feet moving.

The lyrics in “The Love You Save” echo the warning Diana Ross delivered five years earlier on “Stop! In the Name of Love,” another Motown No. 1. Both songs open hard on the word “stop” and implore their partners to both slow and settle down. Playing these songs back to back shows how far Motown has pushed soul music. The excitement of the Holland-Dozier-Holland composition is tempered by Ross’ mannered delivery that almost turns her pleading into nagging. On the other hand, the Corporation’s number jumps out of the speakers with a kinetic energy and Michael’s charismatic vocals. The supporting string arrangement is only hint of the assembly line Motown sound that HDH developed.

Few artists have covered “The Love You Save.” More noteworthy are the songs penned by Joe Tex and the Holmes Brothers that bear the same name.

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Rare Earth – “Get Ready,” Pop # 4, R&B # 20

By Joel Francis
The Daily Record

Motown’s signing of Rare Earth in 1968 was the sign of a label attempting to spread its wings. Although Rare Earth wasn’t the first all-white rock group signed by to Motown (that would be the Messengers in 1967), it was the most successful.

“Get Ready” was the Earth’s second and biggest single. The song was originally recorded by the Temptations in 1966 when it rose to No. 29. It was written by Smokey Robinson and Pete Moore and Bobby Rogers of the Miracles. When the Temptations version of “Get Ready” failed to chart high enough, Robinson passed production reigns of the group over to Norman Whitfield.

But that was four years ago, before the psychedelic movement and power trios started stretching songs to fill an entire album side. Which is exactly what Rare Earth did to “Get Ready.” Modeled after their show-closing performances, the song reached more than 21 minutes and packed the entire second side of their Motown debut.

The quintet lobbied label honcho Berry Gordy to release the song as a single, but given the song’s length he balked at the proposition. Finally, a three-minute edit was released in February, 1970 and the song shot up the chart.

Despite the genre transplant, “Get Ready” emerged relatively unaltered. The horn line was replaced with electric guitar, and faux crowd noise was added. The biggest change was Pete Rivera’s gritty white soul vocals replacing Eddie Kendricks’ tough falsetto. A saxophone solo by Gil Bridges closes the number.

The song became a staple not only for Rare Earth and the Tempts, but was a sort of label warhorse. It was included on albums by the Supremes, Miracles, Smokey Robinson on his own, and again by the Temptations in 1991.”Get Ready” was also covered by pop-punk band Ash, the Scottish folk band the Proclaimers and sampled by the Black Eyed Peas, who later turned it into a full-blown cover for their singer Fergie on her solo album.

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The Supremes – “Up the Ladder to the Roof,” Pop # 10, R&B # 5

By Joel Francis
The Daily Record

Life in the Supremes had been rocky for a while. First, Diana Ross got top billing, then founding member Florence Ballard was replaced by Cindy Birdsong. To add insult to injury, several tracks credited to Diana Ross and the Supremes were glorified Ross solo tracks, recorded with no input from Birdsong or Mary Wilson.

When Ross finally left to launch a solo career, Wilson regained control of the group. As the sole original member, she became the unofficial leader. For the first time in a while, Wilson’s voice was prominent among the backing vocals. In her autobiography, Wilson recalled that the backing vocals were recorded with the three Supremes sharing a microphone, something the group did frequently in the early days but had not done in years.

Although she never reached the same level of fame as her predecessor, Terrell was an excellent replacement for Ross. Terrell’s voice had greater range and tone with a strong gospel emphasis. Producer Frank Wilson (no relation to Mary), frequently told Terrell to dial back her performance during the recording of “Up the Ladder to the Roof” because he thought Motown listeners wouldn’t like her soulful delivery.

The title is a nod to Gerry Goffin and Carole King’s 1962 hit for the Drifters, “Up on the Roof.” In the Drifters’ song, the roof is a romanticized utopia, free of the worries and stress of urban life. For the Supremes, however, the roof represents not only sex (check the way Terrell coos the lines “where we can be closer to heaven” in the chorus) but commitment and a new life together, stopping just short of being a marriage proposal. Although the string arrangement gives the song an elegant feel, the funky wah-wah guitar and percussion breakdown in the middle is definitely a nod to the times.

“Up the Ladder” successfully launched the “new Supremes,” lodging at No. 10 on the Pop chart and making it all the way to No. 5 on the R&B chart. It was covered by Bette Midler in 1977, the a capella group the Nylons in the early ‘80s and Al Green during his gospel phase later in the decade.

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for once
Stevie Wonder – “For Once in my Life,” Pop # 2, R&B # 2

By Joel Francis

“For Once in my Life” was less than two years old, but already practically a staple by the time Stevie Wonder’s cover was finally released in October, 1968.

Jean DuShon recorded the original version for the Chess Records subsidiary Cadet in 1966. Although the label failed to promote the single, it still managed to reach the ears of Berry Gordy. He was not pleased to learn that Motown composer Ron Miller had written the number for a performer outside of the Hitsville stable. Gordy demanded Miller let a Motown artist record the number and he promptly gave it to Barbara McNair for her 1966 album “Here I Am.” Best known as an actress who appeared on “Mission: Impossible,” “Hogan’s Heroes” and “Dr. Kildare,” McNair’s version sank without a trace.

Gordy wasn’t done with the song, though. In 1967 he gave it to the Temptations as a showcase for baritone Paul Williams. Their downbeat interpretation was one of the highlights of a 1968 television special with the Supremes.

Tony Bennett released his version of “For Once in My Life” the same time the Temptations were staking claim to the tune. Bennett’s reading was a crossover hit, lodging in the Top 10 of the Easy Listening chart and peaking at 91 on the pop chart. The title song of his 1967 album, it became one of the crooner’s signature numbers.

So the public was more than familiar with “For Once in My Life” by the time Wonder’s version hit the streets. Arriving a year after Bennett’s version peaked, Wonder’s interpretation became the most successful and definitive reading of the song. Like many great songs, however, this one almost didn’t get released.

Wonder recorded his vision of “For Once in My Life” the same summer the Temptations cut the song. Wonder’s upbeat arrangement stood in sharp contrast to the Temptations’ soulful balladry, and Gordy preferred the Tempts’ reading. After a year of pleading and cajoling, the head of Motown’s Quality Control department finally talked Gordy into allowing Wonder’s version to be released as a single. The result, of course, was a No. 2 single (held out of the top spot by Marvin Gaye’s “I Heard it Through the Grapevine”) that became the title track of Wonder’s tenth album.

Sonically, it’s hard to believe this song hails from 1968. The production and arrangement sounds like a throwback from the Holland-Dozier-Holland heydays of 1966. The big strings and Wonder’s vocals are front and center in the mix with the drums pushing the entire arrangement. The strings and horn tiptoe just shy of being bombastic, and a great piano line snakes along the bottom of the mix. Wonder’s harmonica makes the most of its verse-long solo, nimbly improvising on the melody like a jazz horn. The backing vocals are a little corny, but they are redeemed by Wonder’s best vocal performance to date. Wonder wasn’t yet 18 when he recorded this song, but there is a confidence in his delivery and phrasing that shows how much he’d grow since “Uptight” was released the summer before.

Wonder had far from the final word on the song. Gordy’s old boss Jackie Wilson released a cover that tried to split the difference between the Bennett and Wonder arrangements as a single to compete with Wonder. His version stalled at No. 70 on the cart. Ella Fitzgerald performed the song in concert throughout the summer of 1968 with an arrangement based on Bennett’s version. The following year, Frank Sinatra included his reading on the “My Way” album. In the twilight of his career, Sinatra revisited the song with Gladys Knight and Wonder for the 1994 “Duets II” album. Wonder returned to the song a dozen years later, sharing vocal duties with Bennett for Bennett’s “Duets: An American Classic” recording.

An enduring classic, “For Once in My Life” was covered by rocksteady singer Slim Smith in1969, recorded by James Brown in 1970 and translated into German by Stefan Gwildis in 2005. The song has also popped up on “Oprah,” “American Idol” and countless other television shows and films.

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Lovechild-single-supremes
Diana Ross and the Supremes – “Love Child,” Pop # 1, R&B # 2

By Joel Francis

The departure of Holland-Dozier-Holland reverberated throughout Hitsville, but no one felt it as acutely as the Supremes. Between 1964’s “Where Did Our Love Go” and 1967’s “Reflections,” the powerhouse songwriting and production triumvirate landed 10 songs at No. 1 and a three more in the Top 10.

Berry Gordy spared little expense in turning the Supremes into the biggest group on his label, and he was loathe to see them slink back to their pre-HDH obscurity. Before the two trios met, the best the Supremes could muster was No. 23. Those numbers were no longer acceptable.

Desperate, Gordy sequestered a half dozen of his best writers in a Detroit hotel and demanded they come up with a new hit for Diana Ross and the Supremes. Credited anonymously to “The Clan,” the result was another No. 1 hit for Gordy’s favorite group. The Clan model worked so well, Gordy revived it the following year, this time as “The Corporation,” to write hits for the Jackson 5. Gordy gave both these teams generic names to prevent writers and producers from superseding the fame of the performer or the label.

It would have been fascinating to be a fly on the wall as the writers pitched this song to Gordy. Love songs were the Supremes bread and butter, but it’s doubtful Gordy envisioned his siren singing about abstinence. In “Love Child,” a woman, scarred by being born out of wedlock, the singer tries to convince her man to “hold on just a little bit longer” and understand that “no child of mine will be bearing/The name of shame I’ve been wearing.” “Love Child” wasn’t the first song to touch on unwanted pregnancy – Gordy himself and Smokey Robinson wrote the song  “Bad Girl” in the early days of the Miracles  – but it became the definitive song on the subject until “Billie Jean.”

Diana Ross is the only Supreme to appear on “Love Child,” and for once her voice does a song justice. This might be because the background of the woman in the song mirrors Ross’s childhood in the Brewster-Douglass housing project in Detroit. Unlike the song’s subject, Ross was born to married parents. The painfully shy Ross could no doubt to the lyrics like “So afraid that others knew I had no name” and “I started school/And a worn, torn dress that somebody threw out. Too poor to afford the stylish clothes she coveted, the aspiring fashion designer made her own clothes cobbled from scraps and hand-me-downs.

“Love Child” opens with a few bars of funk guitar before the sweep of strings relegate the guitar to the back of the mix. The arrangement – particularly the strings and backing vocals – foreshadows the disco trend that would serve Ross so well in the decade to come. For such a hard-driving song, the percussion is surprisingly soft. During Hitsville’s production-line heyday, the song would have been driven by snare and tambourine. Nearly a minute of “Love Child” passes before the snare a full drum kit completely engage. Instead, the propulsion rests with what sounds like ride cymbal, maracas and a glockenspiel.

Although they aren’t on the record, Mary Wilson and Cindy Birdsong performed the song with Ross on the Ed Sullivan Show in September, 1968. Despite the show’s conservative stance against the Rolling Stones “Let’s Spend the Night Together,” and the Doors “Light My Fire,” they lyrics to “Love Child” were performed as-is with no discussion. It was one of the group’s final performances on the popular Sunday night TV staple.

Despite its success, few performers have covered “Love Child.” It is unlikely the Supremes number will be confused with Deep Purple’s 1975 song of the same name.

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ain't nothing
Marvin Gaye and Tammi Terrell – “Ain’t Nothing Like the Real Thing,” Pop # 8, R&B # 1

By Joel Francis

Marvin Gaye and Tammi Terrell’s first album together, “United,” was a smash that spawned three Top 5 R&B hits and turned Gaye into a soul superstar. A follow-up was inevitable. In March, 1968, less than three months after the release of their previous single, “Ain’t Nothing Like the Real Thing” announced the fruits of the duo’s new collaborations.

“Ain’t Nothing Like the Real Thing” is more of a Brill Building pop song than a soul number. Each singer gets two brief verses, but the heavy emphasis is on the chorus, which is usually repeated. There is a touch of Carol King’s phrasing in Terrell’s verses and the piano line – particularly the bit that introduces the first verse owes to King’s style. Although the structure is deceptively simple, the song works because the hook allows the complementary voices to dance. The clever bridge also surprises up the verse-chorus structure.

The song is definitely outside of the Motown paradigm, but Gaye’s voice , especially the soulful moans that appear after the drums and bass introduce the song, let the listener know we’re still deep in Motown territory.

Sadly, “Real Thing” was the next-to-last “real thing” Gaye and Terrell worked on together. In October, 14, 1967, following the completion of the No. 1 R&B hit “You’re All I Need To Get By,” Terrell collapsed in Gaye’s arms while performing at college homecoming in Virginia. Doctors diagnosed Terrell with a brain tumor and her days as a singer and performer were over.

Gaye completed the pair’s second album, “You’re All I Need,” by overdubbing his voice to Terrell solo recordings, a trick reprised on the duo’s third and final album, “Easy.” Largely present in name only, “Easy,” found Valerie Simpson standing in for Terrell on all but two albums. “Easy” spawned three Top 20 R&B hits, but nothing as influential or wonderful as “Real Thing.”

When Terrell died at age 24 on March 16, 1970, Motown released her final “duet” with Gaye in tribute.

“Ain’t Nothing Like the Real Thing” has been a go-to duet for 40 years. Diana Ross and the Supremes were the first to capitalize, recording a version with the Temptations in 1969. The following year the Ross-relieved Supremes cut another version with the Four Tops. The Jackson 5 included their cover on their 1972 album “Lookin’ Out the Windows.” Aretha Franklin recorded a rare solo version of the song in 1974.

Other performers to record “Real Thing” include Donny and Marie Osmond, Gladys Knight and Vince Gill, Elton John and Marcella Detroit, and Beyonce and Justin Timberlake. Michael McDonald and Boyz II Men also included interpretations of the number on their Motown tribute albums.

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