As far as years at Motown go, 1966 is hardly the most historical. Placed right at the halfway point in this series, the year certainly was filled to the brim with hits, ranking easily alongside ’64 and ’65 in terms of overall quality. Indeed, this was one of the the most difficult lists in the series for me to narrow down to only five picks. But in large part, things were business as usual. The biggest artist breakthroughs for the year were Kim Weston (It Takes Two with Marvin Gaye), the previously-famous Isley Brothers (This Old Heart of Mine), and Jimmy Ruffin — all of whom rapidly faded back into obscurity.
Still, there were changes on the horizon. The year saw Smokey Robinson unseated as the label’s most reliable one-man songwriter and producer, and the biggest success yet for Norman Whitfield — who would not only usurp Smokey’s access to the Temptations, but soon become the man behind the vast majority of Motown’s hits. Meanwhile, Holland-Dozier-Holland was still turning out hit after hit like a fine-tuned machine, but it was to be the final year of their incredible reign. In 1967, they would release significantly fewer singles — I would say also largely of significantly lesser quality — before departing Motown midway through over contract disputes and leaving multiple artists in a lurch.
If Motown was down to a formula by this point, you certainly couldn’t knock it. The first four songs on this list are all so fantastic, you could just about shuffle them at random and still find yourself with an order that would be hard to argue with. Here they are, the cream of the crop.
1. You Can’t Hurry Love
VIDEO: The Supremes’ You Can’t Hurry Love plays over an image of the group. You Can’t Hurry Love lyrics.
One of the most pop-oriented records in Motown’s catalog, it was songs like this that gave Motown its reputation of having turned its back on Black music’s roots. But while soul music purists may turn their noses up at this track, it’s pure perfection. One of the Supremes’ most outstanding cuts, Diana Ross delivers an incredible, perfectly-phrased vocal that doesn’t miss a beat. Speaking of beats, this track has got plenty, with James Jamerson and Benny Benjamin demonstrating their ability to read each other’s minds, Robert White providing a rhythmic, jangly guitar, and Jack Ashford dominating the track on tambourine. Designed for radio and the dance floor, this is the sound of the Supremes at their peak. And at a time when virtually everything they did went straight to the top, this is a cut that absolutely deserved its #1 spot.
Just as 1966 was the last year of HDH’s reign, it was in my view also the last truly great year for the Supremes. They would suffer as much as anyone from HDH’s departure from the label. Further, 1967 would see the non-coincidentally simultaneous renaming of the group as Diana Ross and the Supremes — making explicit what had been heavily implied for years — and the abhorrent firing of Florence Ballard by Berry Gordy for “insubordination.” But Flo’s remarkably full and unique backing vocals (not to mention her boisterous personality) were not the only loss, as Motown largely failed to utilize Mary Wilson or Flo’s replacement Cindy Birdsong on future recordings, instead substituting them with the label’s house backing vocalists the Andantes. I have previously and will continue to praise the Andantes for their superb, skillful work. But having the same exact sound heard on records by the Four Tops, Marvin Gaye, and many other artists was a huge detriment to a group that was supposed to have been woman-centered. In losing Flo, the Supreme not only lost a big part of their distinctive sound; they also failed to find a new one. Diana Ross and the Supremes will turn up in this series again, but the Supremes portion of that title will mostly be in name only.