Tag Archives: 1969

Top 5 Motown Singles: 1969

Previously:
Top 5 Motown Singles: 1959-1961
Top 5 Motown Singles: 1962
Top 5 Motown Singles: 1963
Top 5 Motown Singles: 1964
Top 5 Motown Singles: 1965
Top 5 Motown Singles: 1966
Top 5 Motown Singles: 1967
Top 5 Motown Singles: 1968

The Jackson 5 early in their career, sporting colorful 60s clothes and perfectly coifed afros, sit and pose for the camera.

Sadly, we must pause at the beginning of another post to note the passing of an under-appreciated Motown great. Mr. Frank Wilson, songwriter and producer for Motown from 1965-1976, died yesterday. I wrote significantly about Wilson in my post about 1965; as head songwriter and producer for one of my very favorite Motown artists, Eddie Kendricks, he is extremely well-represented in my record collection, and I am particularly saddened by this news. Thanks for all the music, Frank; Rest In Peace.

After an unexpected hiatus, I’m back to finish up the last three installments of this series. Still lacking, as they forever after would, the cohesion of their 1963-1966 period, Motown continued to rely on an array of songwriters and producers, with mixed results. Johnny Bristol was actually the most successful songwriter/producer of the year, according to my list, something that back in 1969 probably surprised even him. Norman Whitfield was still working out some of the kinks in his new sound, at the same time as Berry Gordy threw himself head-first back into the writing game and operations started to shift further to California. Diana Ross was preparing to strike out on her own, while Marvin Gaye struggled with depression, and Stevie Wonder kept working on finding Stevie. David Ruffin and Edwin Starr both tried valiantly to become Motown’s latest male star, though neither would achieve the lasting success they hoped for. And everything the Temptations touched still turned to gold, though they had some stiff competition in some young newcomers called the Jackson 5.

All in all, it was arguably Motown’s overall weakest year since their big 1963 breakthrough. But luckily, that’s a comparative measure, and the results still turned into a great list.

1. I Want You Back

VIDEO: I Want You Back plays over an image of a Jackson 5 greatest hits album. I Want You Back lyrics.

With the label gradually moving more into soul music with the departure of HDH, I Want You Back is Motown’s best pop single since Ain’t No Mountain High Enough and their best piece of pure bubblegum since You Can’t Hurry Love. Even more than that, it holds the highly esteemed position of being Michael Jackson’s very first masterpiece. A family group of young teen and pre-teen boys, the Jackson 5 were first brought to the attention of Motown by Gladys Knight and the Pips, only for Berry Gordy to ignore their praises, not wanting to deal with the labor law hassles of underage performers. Motown singer/songwriter/producer Bobby Taylor eventually got him to hear the group, at which point Berry signed them instantly — and then promptly gave credit for their discovery to Diana Ross. After knocking their ages down a couple of years in press releases to make them seem even more cute, all they needed was a hit; they found one in Berry’s new songwriting group, the Corporation.

Intended to replace HDH as Motown’s hit-making machine, the Corporation was deliberately anonymous, with the intention of avoiding the “big heads” Berry perceived HDH as having grown. Comprised of Berry Gordy and the virtually unknown Alphonzo Mizell, Freddie Perren, and Deke Richards, the collective fell far short of living up to its overall goal, but did produce one legendary song. At the time, it was all the J5 needed. Recorded in LA — where the bulk of the group’s work was to be completed, strongly signalling a shift away from Detroit and the Funk Brothers’ sound — the track features an impressive bass groove by Wilton Felder and crisp, clear instrumentation. A story mature beyond little Michael’s 11 years, he delivers it with a precocious conviction, surrounded by bubbly backing vocals made for radio. This song would be covered by a plethora of Motown’s acts, including very, very well by David Ruffin, but none would match the pop perfection of the original. And though the Jackson 5 would carry on with many other worthy singles, their debut was to be the finest track by the last superstars of Motown’s golden age.

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