Love Hangover

Was pleasantly surprised to see that "Love Hangover" was written by Alice Coltrane's sister, Marilyn McLeod. Not exactly too shocking considering their Detroit origins and origins in a musical family. Even with the vastly different styles, one can still detect shared roots in Detroit's black music. 

Tammi Terrell: Unsung Motown Heroine

The following are some of my favorite songs by the great Tammi Terrell, a talented vocalist known for her duets with Marvin Gaye. RIP, Tammi Terrell, you died too young. This does a good job of describing Terrell's career and life.
All I Do Is Think About You"
 "More, More, More"
"More, More, More" featuring Marvin Gaye singing along to recording of Tammi
"Your Precious Love"
 "Come On and See Me"
"Can't Stop Now (Love is Calling)"

Curtis Mayfield and Johnny Pate: A Critical Component of Brilliant Chicago Soul

I have come to the realization that I prefer Curtis Mayfield's work with The Impressions over his solo career because his 1960s output with The Impressions (as well as songs he wrote for other Chicago-based artists in the 1960s) featured orchestral arrangements by jazz bassist Johnny Pate. Pate, coming out of the jazz tradition, brought in jazz-based and popular music's hornfare, percussion styles (swinging drums, etc.) and tight, well-organized orchestral arrangements that emphasized an independent Chicago style, despite overall similarities to Motown's formula for success: funky or soulful lyrics and basslines, strings, horns, and pronounced rhythms in the backbeat. The successful fusion of Mayfield's songwriting and guitar lines (which definitely introduced rocksteady and reggae artists in the 1960s, who would similarly play chicken scratch and bluesy, melodic fills as rhythm guitarists for reggae groups in the 1960s and 1970s) with Pate's arrangements fused jazz, popular music, gospel, doo wop, soul, and blues for a compellingly simple, highly melodious style of Chicago soul that, like Motown, which grew from the same stew, remains timeless. Solo Mayfield focuses on funk with some jazzy funk soloing in saxophones and his own guitar style, but the vocal talent, drum rolls and swinging percussion shuffling with full orchestral accompaniment perfectly added an uplifting, majestic quality to Mayfield's compositions. For those reasons, the best of The Impressions for me invariably includes those songs best exemplifying the aforementioned qualities I see as arising from the influence of Pate's arrangements and Mayfield's songwriting. Enjoy the following songs, which in my opinion best illustrate that. Check out this video where Johnny Pate appears in the beginning discussing Mayfield's political work. And here for an example of Pate's work with a jazz group.

Long, Long Winter Mayfield's adorable melodic rhythmic guitar leads the song with appropriate brass from Pates, which adds an uplifting, agreeable tone to a song about a horrible love experience with a metaphor of a long winter. "Now that she's gone the days are not all it seems, My girl is gone from me, and my  heart's in misery, and it's a long, long winter for me." The drummer is on point throughout, though the video unfortunately ends too early. Bob Marley and the Wailers later covered this song but without the backing orchestra suffers in comparison.

It's All Over This song is a great example since the drum rolls, heavy bass, and what may be a violin and other strings adds that just necessary heavenly quality of multi-textured layers of sound to accompany Mayfield's lead vocals. The hornfare that plays call and response with itself is pure delight. "All the happiness we shared, but with her, it was like a shield, that has been plunged into the ground, so wide I cannot get around, that I got to explain, it's all over now."

I've Been Trying is a slow ballad about love that features the same winning combination. Mayfield's guitar plays a more prominent role here, while the horns and arrangement play call and response with Mayfield's and the the rest of the group's vocalization. "I've been trying to understand why, can I be your only man. Keep on trying" only serves to show off Mayfield's falsetto and additional vocalization. Lyrical beauty right here.

They Don't Know suffers from a masculinist discourse that plagued black nationalism, naming every sister as a "breeder." Nevertheless, it's funky, features lots of soul horn accompaniment, and a falsetto of Mayfield leading vocals. This suggests his later solo material through its fusion of socially conscious lyrics with funk. However, the necessary hornfare and strings emphasizes the song's Chicago soul debts to funky, jazz-inspired horns. At times it sounds like blues-soul legend Syl Johnson's "Different Strokes," which is a good thing, trust me. Intriguingly, Johnson also recorded some black uplift-oriented soul and funk, too, such as "Is It Because I'm Black?"

Miss Black America features a jazz introduction while a father talking to his daughter hears the latter say she wants to be Miss Black America when she grows up. Though released on Curtis's solo album, Curtis, the horns, strings, and vocals resemble his earlier work with Johnny Pates and other Chicago soul artists, such as The Impressions. Indeed, this is a good bridge connecting 1960s Mayfield with the Mayfield of the 1970s. The instrumental hornfare section also recalls Pates' arrangements, while Mayfield sings pro-black women lyrics. "Miss Black America, Miss Black America, we're so proud of you, Miss Black America, Miss Black America..." I don't think Pates played a role in this song, but perhaps I am wrong.

We're In Love Those drums, those horns, and Mayfield's guitar! "Cause we're in love, we're in love!" "When I saw her life come down so easy, she's so wonderful, I'm going to keep her no matter what come may."

Woman's Got Soul features Mayfield's guitar licks, moving harmony, and bursts of horn. Joe Williams later covered this with a jazz orchestra backing him, but it pales in comparison to Mayfield's voice, the back-up vocals from the rest of The Impressions, and this specific arrangement. "Now the woman that I hold, she's got to have soul..."

Don't Let It Hide  is my favorite Impressions jam, featuring lots of brass, great lyrics, and propulsive drums. "When you kiss me thrills go down my back, but I got a feeling that it's just an act." The brass is reminiscent of other songs, such as The Impressions' version of "Amen," but the horn accompaniment expertly emphasizes the song's message while the drums retain the funk. "Don't let it hide, don't let it hide, don't let it hide"

 Somebody Help Me is the only direct, obvious blues that I've ever heard from The Impressions. The bluesy guitar and vocals are well-matched by an at times overly loud horn section, but overall Mayfield's blues chops are admirable. That bass keeps everything in check while the horns sound like the typical jazz blues, until Mayfield plays a little solo on guitar. Lest we forget, The Impressions came from Chicago and that was the land of the blues and Chess, a famous blues-based recording label. "Somebody help me get out of this mood, somebody help me get out of this mood." Perhaps as a slightly extended piece with more room for additional instrumental solos then this would be even better.

 Um Um Um Um Um Um by Major Lance was composed by Mayfield and features Johnny Pates arranging, too. In contrast to most of Mayfield's work with The Impressions, a strong "Latin-tinge" is evident here, as well as in "Monkey Time." We have the winning combo of horns, percussion, gorgeous melody, and vocal talent for a work of triumph. The second song, "Monkey Time," features even more prominent horns and Curtis himself on background vocals. The Latin-tinge remains present but the drum rolls and swinging shuffle meshes with the orchestral arrangement. The "monkey time" refers to a dance, so this is one of those timeless R&B dance instruction songs. "Little Girl" also features Mayfield's vocals and songwriting talents, with likewise pronounced brass. " Pleae let me have a chance with you, I like to do the monkey, too!" An interesting disco version with violins and funky drumming by Linda Clifford is of interest, too.

Billy Butler's "Found True Love" epitomizes Chicago soul and Curtis Mayfield, too! The drummer swings, the orchestral jabs and shouts its brass into the song while the back-up vocalists are beautiful. Apparently this was co-wrote by Mayfield and Butler himself, and Butler is Jerry Butler's brother.

You'll Want Me Back by The Impressions features ethereal organ-playing, rolling, march-like drums, and a full orchestral while Mayfield sings lead. When those horns blow in and the chorus evokes Smokey Robinson's "You Really Got a Hold On Me" I go crazy. They're humming is on point and the organ solo is surprisingly tolerable with the complex sheets of sound created by the band. "Run on, baby, you're gonna cry, cry, cry, cry on, baby, but it's too late..."

Just Another Dance is another gem of Chicago soul with brilliant orchestral arrangement and Mayfield's irresistible falsetto. This is why I love The Impressions-era Mayfield more than his solo period, just as I prefer pre-afrobeat Fela Kuta over full-blown afrobeat Fela. The harmonization, exquisite melodies, and ochestral and jazzy arrangements and styles move me in a deeper way than funk can.

Gene Chandler's "Nothing Can Stop Me" is priceless Mayfield soul featuring great jazzy horn accompaniment. Like Ray Charles' soul music, the jazz influence in the horn section is great, though the rest of this song sounds like it could be a Motown release. "Please don't go, that's what they'll be saying, please don't go, well, I'm not playing." Beautiful, rolling drums, deceptively simple strings, and a propulsive rhythm reminds me of "Talkin' Bout My Baby," though the chorus here is not as strong.

Let It Be Me is straight-up doo wop with shuffling drums, intermittent horns, and the vocal caresses of Mayfield ("without your sweet love, what would life be?"). Though comparatively tame in terms of a sparser orchestral arrangement to highlight the vocals, the guitar of Mayfield gets a little time in.

"Emotions" just has a dark atmosphere where the horn arrangement perfectly captures. The drummer likewise contributes brilliantly to an outburst of emotional, burden-heavy heartbroken love. "Please let me cry..."

It's Alright is just built on the rolling drums and horns, whilst the skeletal licks of Mayfield provide a rhythmic foundation, too. Beautiful lyrics, danceable, soulful, and featuring brief blasts of brass, as well as moving handclaps, "It's Alright" is one of their top hits for a reason. The best good-time soul jam: "It's all right, have a good time Cause it's all right, whoa, it's all right." Again, Johnny Pates keeps it together.

I'm the One Who Loves You I am not quite sure what the drummer is doing here, but it's catchy, as well the chiming sound going off in the song. The drummer sounds like they're going at it, though, and the harmonizing by the group is brilliant. "I'm the one who loves you, I'm the one who loves, love me!"

Gypsy Woman My favorite version of a Mayfield original, the castanets, harmonization, marching drums, and light touch in the horns allows for Mayfield and the other singers' voices to sound more majestic and grand than usual, particularly the back-up vocalists. "She was a Gypsy woman, she was a Gypsy woman..."

I Need You "I don't wanna be happy with somebody else, when I know in my mind I'd be wasting her time, no need in fooling myself. And if you don't love me, why be concerned about the life I lead?" I love this, "I guess I'm just a stubborn fool, kinda hard-headed like a mule, but how do I love someone else when I need you, when I need you!" Amazing drums, appropriately grand horn sections, and Mayfield's unique guitar picking keeps this moving gem going. "And I guess I could be happy, that is if I was another man, but I need you, I need you, I need you. And I guess I'm just a stubborn fool, kinda hard-headed like a mule, but how do I love someone else when I need you, when I need you, when I need you!"

You've Been Cheating just screams Motown in the string arrangement and drums, but works well for The Impressions. The string arrangement sounds regal, the piano riff and undeniably moving drums fuse with the brass for a catchy rejoinder to the woman cheating on Mayfield. Another classic collaboration between Pates and Mayfield.

I'm Still Waiting Has that mellow beat, Mayfield guitar licks, harmonizing, light strings, and straight-ahead drumming with occasional rolls. The drummer makes things more interesting while the piano or keyboard adds depth to the piece in its occasional interjections in the chorus, though Mayfield's guitar maintains its central role. "I'm still waiting, and I'm here ready or not, wooo..." Plus belle, plus belle. Pattie LaBelle and the Bluebelles also recorded a cover, though more solidly grounded in the Philadelphia style with overdone strings, but nice to hear. In contrast to Mayfield's version, it soungs overly elegant and overdone, whereas Mayfield and Pates accomplished a more earthy feel without the glitz and schmaltz.

I Gotta Keep Moving (jazzy, horns, etc.) just has the blaring horns, swinging rhythms, soaring vocals, and prominent bass I need. I like to interpret this song as being about a man fleeing a lynching, or perhaps, if you will, even a runaway male slave who makes the decision to continue fleeing minus his wife and two sons. Bob Marley and the Wailers covered this beautiful song that, despite the serious and grave lyrical content, contains a message of uplift and perhaps latent social commentary on the concurrent Civil Rights Movement. Either way, it's quite beautiful and a great example of Mayfield and Pates collaboration as a bedrock of Chicago soul.

People Get Ready is truly timeless gospel-tinged piece with light orchestral accompaniment to the simple, civil rights, black pride spiritual uplift. Forever immortalized by Bob Marley's interpolation of the song's melody and lyrics for "One Love" "Is there a place for the hopeless sinner who would hurt all mankind just to save his own?" Those strings know their proper background role, just lightly adding another layer of complexity to Mayfield's guitar and the vocalists. "You don't need no tickets, you  just thank the Lord."

We're a Winner has that gospel-tinged sound that I love from Mayfield, with a gospel-laced piano vamp. The drummer plays some funky beats, Mayfield's guitar skills also hint at his future funk-oriented compositions, and the the orchestral arrangement seamlessly contributes to the empowering black anthem. "We just gonna move on up, Lord have mercy, we're moving on up, we just keep on pushing, we're a winner, oh baby, everybody, we're moving on up, we're a winner!" Not particularly jazz-influenced as other works, I am also unaware if Pates played a role in this one. The strings know their proper place, for momentary accompaniment and accenting of the generally funky piece, courtesy of Johnny Pates.

Keep On Pushing this version is particularly jazzy in its swing, horns, and the strings suggest moral righteousness, as well as the pianist. The soulful, jazzy refined sound obviously played well with the lyrics, offering spiritual and musical support for the Civil Rights Movement to "keep on pushing" for full equality and human dignity. "A great big stone wall stands there ahead of me, but I've got my pride, and I really want to say, keep on pushing. Halleluiah, Halleluiah, keep on pushing, keep on pushing. This is the version I am most accustomed to, which lacks the same sound, but again retains jazzy drumming, some brass, and Mayfield's spiritually-minded guitar lines. Such a beautiful song, "Keep on pushing!"

Talkin' About My Baby  is Mayfield at his best, playing melodic guitar licks while leading the vocal group. Meanwhile, Johnny Pates' arranged horn accompaniment is danceable, funky, and plays in response to the vocalists. It gives the tune a bouncy, classic status while sounding almost folksy or like gospel music. "I wanna talk about my baby, with her pretty smile, she's about to drive me crazy, makes my heart beat wild!" Mayfield's guitar licks just screams later styles of reggae rhythm guitar, no doubt largely due to the influence of the spectacular harmonies and sounds of Mayfield and The Impressions for Jamaican audiences in the 1960s. "When she walks that walk, I can't help but feel she's for real...talkin' about my baby."

Man Oh Man is the typical romantic fare of Mayfield's compositions with appropriately light orchestral arrangements by Pates, exploding in the chorus ("I wanna go there, again and again...) with loud horns. RIP Curtis Mayfield, and thank you, Pates, for your talent, too.

Nowhere to Run meets Too Hot to Hold

Am I the only one who has realized how similar Major Lance's song "Too Hot to Hold" is to Motown's "Nowhere to Run" recorded by Martha & The Vandellas? They're too similar for it to merely be chance, also released in 1965. What I cannot figure out is which one was released first. Moreover, the main similarity is in the refrain by the female back-up vocalists and the bassline, leading me to think this is direct imitation of a Motown hit.

Shotgun!

Jr. Walker and the All-Star's Motown 1965 smash hit, "Shotgun," is one of my favorite songs of all times. With an irresistible funky bass line, honking saxophone, and lyrics calling one to dance, this is my jam. I first heard it properly via Spike Lee's Malcolm X biopic, and one of the later seasons of The Cosby Show used the song as the inspiration for one of their musical introductions (I'll never forget their delightful dancing, especially Tempestt Bledsoe and Malcolm-Jamal Warner's dancing, watch here!). But I digress, the original is the best, and there are some good live versions, too, on youtube. Simple, funky, bluesy, danceable, and Motown! All good things! Check it, here and some good live renditions here and here. Listen to Walker's renditions of "Come See About Me" and "What Does It Take (To Win Your Love)" if you want more delectable funky saxophone.

An Ethiopian-American in the Four Tops: Abdul Fakir

Did you know that one of the founding members of the Four Tops was of Ethiopian extraction? He definitely looks like it too, though his wikipedia page claims Bangladeshi ancestry, too. As someone of Ethiopian descent active in Motown's Four Tops, who are best known for songs such as "I Can't Help Myself" and "Bernadette," Fakir was likely one of the few Ethiopian-Americans in Detroit, since large-scale Ethiopian immigration to the US does not predate the fall of Haile Selassie's monarchy and decades of civil war, totalitarian rule, and other conflicts and disasters in the Horn of Africa. Oh well, what I would like to know is the ethnic origins of other famous Motown-era African-Americans...it definitely shows the impact of black immigration in African-America prior to the Hart-Cellar Act in 1965, which challenged racist restrictions in immigration from Asia, Africa, and Latin America (though, non-European immigrants from the Anglophone West Indies, Puerto Ricans, and Mexicans entered the US for varying reasons prior to the cessation of racist, exclusionary immigration laws, which must be placed in a broader context of the Civil Rights Movement). Anyway, enjoy "I Can't Help Myself" which is one of their best songs. "I can't help myself, I love you and nobody else!"

Freda Payne's "Band of Gold"

Featuring songwriting credits from some of Motown's best, Holland and Dozier, this hit carries the Motown sound into 1970 with a strong, pronounced beat, funky bass, string sections, an unexpected sitar solo, and typical romantic lyrical fare for a lover. That this is from 1970 and not, perhaps, 1965, would seem to suggest that by 1970 the Motown sound was dated, but far from it, the Motown formula for commercially successful hip-hop also incorporated stylistic innovations within R&B and soul music. Indeed, this track represents R&B at a changing period, when funk arose as the most popular form of music for Black youth and the soundtrack of the Black Power era. A similar track marking the 'end' of the Motown sound and the rise of funk, "I Want You Back," forever associated with a youthful Michael Jackson, also features strong, funky bass, propulsive, funky percussion, strings, and a conga. It was released in 1969, just one year before "Band of Gold," showing the flexibility of Motown and Motown-influenced soul to survive a rather smooth transition to funk. What I find perhaps more amazing about this soul-pop gem is the versatility of the artist, who previously excelled as a jazz vocalist, too. She even tackled more progressive, freer elements of jazz, brilliantly converting Ornette Coleman's "Lonely Woman" to a ballad with introspective lyrics. This simply shows Payne's talent in both idioms, soul and jazz, as well as the versatility many soul singers retained for both their more commercially successful genre and jazz. Below are the lyrics, enjoy!

Now that you're gone

All that's left is a band of gold

All that's left of the dream I hold

Is a band of gold

And the memories of what love could be

If you are still here with me

You took me from the shelter of a mother I had never known

Who loved any other

We kissed after taking vows

But that night on our honeymoon

We stayed in separate rooms

I wait in the darkness of my lonely room

Filled with sadness, filled with gloom

Hoping soon that you'll walk

Back through that door

And love me like you tried before

Since you've been gone

All that's left is a band of gold

All that's left of the dream I hold

Is a band of gold

And the dream of what love could be

If you are still here with me

Ooh, don't you know that I wait in the darkness of my lonely room

Filled with sadness, filled with gloom

Hoping soon that you'll walk

Back through that door

And love me like you tried before

Since you've been gone

All that's left is a band of gold

All that's left of the dream I hold

Is a band of gold

And the dream of what love could be

If you are still here with me

Heaven Must Have Sent You

One of my favorite Motown gems I only recently discovered. Never heard of The Elgins, but they good.

I've cried through many endless nights
Just holding my pillow tight
Then you came into my lonely days
With your tender love and your sweet ways

Now I don't know where you come from, baby
Don't know where you've been, my baby
Heaven must have sent you into my arms

Now in the morning when I awake
There's a smile upon my face
You've touched my heart with gladness
Wiped away all my sadness

So long I needed love right near me
A soft voice to cheer me
Heaven must have sent you, honey
Into my life

Ooh, It's Heaven in your arms
Boy, it's the sweetness of your charms
Makes me love you more each day
In your arms I wanna stay

Wanna thank you for the joy you brought me
Thank you for the things you taught me
Thank you for holding me close
When I needed you the most

Now I don't know much about you, baby
But I know I can't live without you
Heaven must have sent you
To love only me

Ooh, it's Heaven in your arms
Boy, it's the sweetness of your charms
Makes me love you more each day
In your arms I wanna stay

It's Heaven in your arms
It's the sweetness of your charms
It makes me love you more each day
In your arms I wanna stay

It's Heaven in your arms
Boy, it's the sweetness of your charms
Makes me love you more each day
In your arms I wanna stay

How Sweet It Is (To Be Loved By You)

http://www.youtube.com/watch?v=_7Dan8efgjw

How Sweet It Is live by my man Marvin Gaye!
http://www.youtube.com/watch?v=gQIrwprU1SY

Another live version at the Copacabana
http://www.youtube.com/watch?v=dCwdlR8LzPs&feature=related

Live again!
http://www.youtube.com/watch?v=JPKXKt5pkpo&feature=related

The best version of the song, featuring Jr. Walker's funky saxophone and an amazing funky backbeat. "I wanna stop and thank ya baby!"
http://www.youtube.com/watch?v=b35kP8MvV4U

James Taylor's version
http://www.youtube.com/watch?v=tsOBSo_jKnM

Your Heart Belongs to Me

 
Early Supremes, with laidback, Latin rhythm. Diana may not have had the best voice in The Supremes, she was definitely the best singer.

Best of Motown

Berry Gordy, founder of Detroit's Motown, is responsible for some of the best pop music in American history. His formula: keep it simple and maintain that funky handclap and tambourine. The Motown house band, the Funk Brothers, were more than able to provide a strong musical backbone for Motown's strong vocalists. Indeed, their use of strings (something from the traditional pop tradition in American music) avoids being cheesy most of the time. Thus, Motown's success is a celebration of R&B music's ability to synthesize various genres of music (funk, gospel, jazz, pop, and soul). Some of America's music legends also got their start through Motown, such as Stevie Wonder, Marvin Gaye, Michael Jackson, and Diana Ross. Thank you, Berry Gordy and Motown for producing so much amazing music.

1. Jr. Walker and the All-Stars, "Shotgun" is one of the funkiest cuts I've ever heard with some amazing R&B-styled saxophone. This melody was later adapted for the intro of Season 6 of The Cosby Show. Everybody was doing the shotgun when this jam was released back in 1965.

http://www.youtube.com/watch?v=iMs9NudasVI

2. Diana Ross and the Supreme's "Baby Love" is a classic Motown moment. Sweet and simple love song by one of the best girl groups. "Instead of breaking up, let's do some kissing and making up." Nice horn section as well. http://www.youtube.com/watch?v=7eYAilmqe9w

3. Diana & The Supreme's "Where Did Our Love Go" is similar to "Baby Love" http://www.youtube.com/watch?v=DlgHudEv_VA&feature=related

4. Diana & The Supreme's "Stop! In the Name of Love" is a song everyone knows. I first heard this back in elementary school. http://www.youtube.com/watch?v=GJzcGO0qUfw&feature=related

5. Jackson 5's cover of Smokey Robinson's "Who's Loving You" is one of the best soul ballads. Bluesy piano intro, powerful vocals from young Michael, and beautiful back up vocals from Jackson's group. "Don't you know I sit around, with my head hanging down, and I wonder who's loving you."

http://www.youtube.com/watch?v=cOxIKJTTB2k

6. Jackson 5's " I Want You Back" is one of the unforgettable pop songs that made Michael Jackson a household name. Though not nearly as good as "Who's Loving You," this is also great pop music. "When I had you to myself, I didn't want you around. Those pretty faces always made you stand out in the crowd." 

http://www.youtube.com/watch?v=ptu0a7vsMcM

7. Jackson 5's "ABC" is another pop song everybody of every race knows. Music transcends everything. 

http://www.youtube.com/watch?v=ZOXG8wtxx_w

8. Smokey Robinson's "The Tracks of My Tears" sounds a little Caribbean, which is no surprise if you know that Robinson based it partially on the melody of a calypso song sung by Harry Belafonte. Smokey Robinson & the Miracles. http://www.youtube.com/watch?v=rNS6D4hSQdA

9. Martha & the Vandellas's "Dancing In the Street" is another Motown jam I've known for several years. 

http://www.youtube.com/watch?v=7b5HXZRQFss

10. The Temptations' "My Girl" is another northern soul gem. Written by Smokey Robinson, I believe.

"I've got sunshine on a cloudy day." http://www.youtube.com/watch?v=bZh7nRw6gl8

11. The Four Tops's "I Can't Help Myself" is a song I believe I first heard while watching that terrible TV show, Clueless, back in elementary school. http://www.youtube.com/watch?v=s3bksUSPB4c

12. Smokey Robinson's "Cruisin" is another classic slow jam http://www.youtube.com/watch?v=WlzY6cWpoMQ

13. Diana Ross's I'm Coming Out" http://www.youtube.com/watch?v=EPpE_BrX0FM

14. The Miracles' "Shop Around" was one of Smokey's earliest hits http://www.youtube.com/watch?v=AQGXa3FiXKM

15. Temptations's "Ain't Too Proud to Beg" is a song I first heard from an episode of Fresh Prince back in the mid-1990s. http://www.youtube.com/watch?v=xBCpcSvxYeo

16. The Temptations's "Just My Imagination" http://www.youtube.com/watch?v=M5Z9-QCmZyw

17. Smokey Robinson's "You Really Got a Hold On Me" http://www.youtube.com/watch?v=AdDnqSFYXFs "I don't want you, but I need you. Don't wanna kiss you, but I need to."

18. Stevie Wonder's "Uptight" is one of his best early cuts. My jam. http://www.youtube.com/watch?v=wDbyOLzEyfk

19. Stevie's "Signed, Sealed, Delivered" http://www.youtube.com/watch?v=inXC_lab-34

20. Martha Reeves and the Vandellas's "Nowhere to Run" http://www.youtube.com/watch?v=RQRIOKvR2WM

21. Stevie's "For Once in My Life" http://www.youtube.com/watch?v=1vxVyaYuGYE&feature=related

22. Stevie's "Hey Love" http://www.youtube.com/watch?v=OjIIY41w6yI

23. Stevie's "I Wish" ("Lookin' back on when I was a little nappy-headed boy") http://www.youtube.com/watch?v=hYKYka-PNt0

24. Stevie's "Superstition" is essential funk http://www.youtube.com/watch?v=wDZFf0pm0SE

25. Stevie's "Isn't She Lovely" http://www.youtube.com/watch?v=9-n3Ydy7ras

26. Marvin Gaye's "What's Going On" http://www.youtube.com/watch?v=f39Zs0gB87c

27. Marvin's "Mercy Mercy Me" is a song I heard on television back in the 1990s when I would watch those infomercials about CDs with old music, mostly R&B. http://www.youtube.com/watch?v=0WxgeYXCjM8

28. Marvin Gaye's "Stubborn Kind of Fellow" is early and classic Marvin Gaye with a Latin clave rhythm. 

http://www.youtube.com/watch?v=nDWK5IANPWo

29. Marvin Gaye's "Pride and Joy" has been a personal favorite since I first heard the song back in high school. Sounds like gospel music. http://www.youtube.com/watch?v=wmx3IS6yelw

30. Marvin Gaye's "Can I Get a Witness" http://www.youtube.com/watch?v=b-gVSQShRb0

31. Marvin's "Wonderful One" http://www.youtube.com/watch?v=KILfZM_v-AI

32. Marvin's "How Sweet (It Is to Be Loved By You)" http://www.youtube.com/watch?v=FH0Q2lBK9-U

33. Marvin's "Ain't That Peculiar" has always been a favorite funky song. http://www.youtube.com/watch?v=mInOfZamIxU

34. Marvin's "It Takes Two" http://www.youtube.com/watch?v=KCwe2WftI7Y

35. Marvin's "I Heard It Through The Grapevine" is the definitive version of the song. http://www.youtube.com/watch?v=jPnZZTVp_2A

36. Mavin's "Let's Get It On" http://www.youtube.com/watch?v=go_tRctLmbc

37. Mary Wells's "My Guy" http://www.youtube.com/watch?v=RgwpHYzcwUA Great bass

38. Jr. Walker's "I'm a Roadrunner" http://www.youtube.com/watch?v=7Ek1UslvFps

39. The Miracles's "Going to a Go-Go" http://www.youtube.com/watch?v=R-Tfm70dL5s has some great drumming

40. Stevie Wonder's "Fingertips" http://www.youtube.com/watch?v=TPOPp8kXnyE

41. Martha & the Vandellas, "Jimmy Mack" http://www.youtube.com/watch?v=obvSFWvgBhg&feature=related

42. Diana Ross & the Supreme's "You Can't Hurry Love" http://www.youtube.com/watch?v=KyxVYl8DrKI

43. Temptations's "Can't Get Next to You" http://www.youtube.com/watch?v=v70jpvR-7VY

44. The Supremes' "You Keep Me Hanging On"

45. Jackson 5's "I'll Be There" http://www.youtube.com/watch?v=Xg2vMrDzoXM

46. Martha Reeves and the Vandellas' "Heatwave"http://www.youtube.com/watch?v=oEz2kEpbMG4