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“Ain’t That Peculiar” – Marvin Gaye
Marvin Gaye’s “Ain’t That Peculiar” stands as a soulful testament to his artistry, weaving together heartbreak, frustration, and hope into a seamless Motown groove. Released in 1965, the song soared to number 8 on the Billboard Hot 100, which is impressive, yet it still feels like a missed opportunity for a chart-topping smash. Gaye’s vocals are brimming with emotion, as he sings about the confusing contradictions of love. The track was produced by the legendary Smokey Robinson, who infused it with dynamic percussion and smooth harmonies. Despite its popularity, many fans and Motown experts are baffled that it never climbed all the way to number one, especially since it has remained a radio staple for decades. Its enduring influence is clear, as it continues to inspire artists across genres. For many listeners, “Ain’t That Peculiar” is the sound of Motown at its very best, making its absence from the top spot all the more surprising.
“Love’s Gone Bad” – Chris Clark
Chris Clark’s “Love’s Gone Bad” is a hidden treasure in the Motown vault, shining with raw energy and emotion. Released in 1966, this song only reached number 105 on the Billboard “Bubbling Under” chart, never even breaking into the Hot 100’s main roster. Clark, a rare white female artist on the label, delivered a powerhouse vocal performance filled with both pain and passion. The song’s thumping rhythm and striking horns make it instantly memorable, while its lyrics describe love’s painful aftermath in vivid detail. Despite critical acclaim, “Love’s Gone Bad” never found commercial success, perhaps due to Motown’s focus on more established stars. Recently, the song has found new admirers, with modern critics hailing it as one of the label’s most underrated gems. Its resurgence in popularity on streaming platforms demonstrates the timeless quality of Clark’s performance. Many now argue this track was more than deserving of a number one spot.
“Take Me in Your Arms (Rock Me a Little While)” – Kim Weston
Kim Weston’s “Take Me in Your Arms (Rock Me a Little While)” is a sparkling example of Motown’s masterful blend of pop and soul. Released in 1965, the song peaked at number 50 on the Billboard Hot 100, but it did far better on the R&B charts, reaching number 4. Weston’s voice is both powerful and vulnerable, begging for comfort and reassurance in love. The song’s infectious chorus and lush orchestration became a blueprint for later hits across genres, and it was covered successfully by the Doobie Brothers in the 1970s. Despite its influence and passionate delivery, the original version never got the recognition it deserved. For Motown fans, this is a classic case of a song that should have ruled the airwaves. Its emotional urgency and irresistible melody make it a fan favorite to this day, often cited as one of the great “what could have been” stories in Motown history.
“Can You Jerk Like Me” – The Contours
The Contours’ “Can You Jerk Like Me” captures the spirit of the 1960s dance craze with infectious energy and irresistible fun. Released in 1964, this song made it to number 47 on the Billboard Hot 100, but it never matched the breakout success of their earlier hit “Do You Love Me.” The track is filled with driving beats, playful lyrics, and call-and-response vocals that invite everyone to the dance floor. “Can You Jerk Like Me” became a staple at parties and clubs, but for some reason, it failed to crack the top of the charts. The Contours were known for their high-octane stage presence, and this song is a perfect showcase for their lively style. In recent years, the song’s reputation has grown, especially among Northern Soul enthusiasts in the UK. Many now view it as a missed opportunity for a Motown number one, given its pure, unadulterated fun.
“What’s Easy for Two Is So Hard for One” – Mary Wells
Mary Wells brought a soft touch and heartfelt emotion to “What’s Easy for Two Is So Hard for One,” a soulful ballad released in 1963. The song climbed to number 29 on the Billboard Hot 100 but never reached the upper echelon of the charts. Wells’ voice is delicate and sincere, expressing the heartbreak of facing life’s struggles alone after a relationship ends. The song was written and produced by Smokey Robinson, who tailored it perfectly for Wells’ signature style. Despite being overshadowed by her earlier smash “My Guy,” this track has remained a favorite among Motown aficionados. Its gentle melody and relatable lyrics continue to resonate with listeners today, and many believe it deserved much more recognition. The song’s enduring appeal is a testament to Wells’ talent and the Motown magic that defined an era.
“Just Walk in My Shoes” – Gladys Knight & The Pips
Gladys Knight & The Pips delivered an emotional powerhouse with “Just Walk in My Shoes,” a song that encourages empathy and understanding. Released in 1966, it reached a modest number 17 on the R&B charts and only number 74 on the pop charts. Knight’s voice is commanding yet vulnerable, urging listeners to see the world from someone else’s perspective. The lush harmonies and driving rhythm section create a sense of urgency and passion. Though the song did not achieve major commercial success at the time, it has since been recognized as a standout in the group’s catalog. Critics have praised its message and Knight’s vocal performance, which many consider among her best. Today, the song’s plea for compassion feels as relevant as ever, and it stands as a reminder of how some of Motown’s finest moments were overlooked by the charts.
“The Hunter Gets Captured by the Game” – The Marvelettes
“The Hunter Gets Captured by the Game” by The Marvelettes is a masterclass in storytelling and subtlety, produced by Smokey Robinson. Released in 1967, the song reached number 13 on the Billboard Hot 100, falling just short of the top ten. The lyrics flip the typical love song narrative, telling the story of a pursuer who finds herself ensnared by love. Wanda Young’s cool, controlled vocals are perfectly matched to the song’s mysterious atmosphere. Critics at the time praised the track for its sophistication and clever wordplay, but it never achieved blockbuster status. In recent years, it has been covered by a variety of artists, underscoring its lasting appeal. Many Motown fans now see it as one of the label’s most innovative and memorable singles, deserving of even greater success.
“You’ve Got to Pay the Price” – Al Kent
Al Kent’s “You’ve Got to Pay the Price” is a dynamic, instrumental-driven soul track that never received the spotlight it deserved. Released in 1967, it reached number 49 on the Billboard Hot 100, modest but far from chart-topping. The song features a driving bassline, vibrant horns, and a groove that is impossible not to move to. Though Al Kent was better known as a producer, his work as a performer on this track has been celebrated by soul music collectors and DJs. The song’s infectious rhythm made it a dance-floor favorite, particularly in the Northern Soul scene in the UK. In the years since its release, “You’ve Got to Pay the Price” has become a cult classic, with many lamenting its absence from the number one spot. Its enduring popularity serves as proof of its quality, even if the charts didn’t reflect it.
“I’ll Keep Holding On” – The Marvelettes
The Marvelettes’ “I’ll Keep Holding On” is an anthem of hope and perseverance in the face of romantic adversity. Released in 1965, it made it to number 34 on the Billboard Hot 100 and number 11 on the R&B chart. The group’s harmonies are rich and powerful, and the message of not giving up on love is both touching and universal. The production, led by Norman Whitfield, features prominent drums and a driving tempo that underscores the song’s determination. Although not a blockbuster, the song has become a staple for Motown enthusiasts and has been featured in several movies and TV shows. Its message of resilience continues to inspire listeners, making it one of the Marvelettes’ most beloved tracks. Many argue it should have been a bigger hit, reflecting its emotional impact.
“Girl (Why You Wanna Make Me Blue)” – The Temptations
“Girl (Why You Wanna Make Me Blue)” by The Temptations is a vibrant, upbeat track that showcases the group’s tight harmonies and youthful energy. Released in 1964, it peaked at number 26 on the Billboard Hot 100, a respectable showing but not the chart dominance fans might expect. The song tells a story of confusion and heartbreak, with Eddie Kendricks’ falsetto adding an extra dose of emotion. The track’s catchy melody and driving beat made it a favorite among fans, even if it didn’t dominate the charts. Over the years, it has become a classic Motown singalong, often performed at concerts and covered by other artists. The song’s staying power is a testament to its quality, and many believe it deserved to climb much higher. Its place in the Motown legacy is secure, even if the numbers never matched the hype.
“If I Were Your Woman” – Gladys Knight & The Pips
Gladys Knight & The Pips’ “If I Were Your Woman” is a powerful ballad that combines vulnerability with strength, telling the story of unrequited love with breathtaking intensity. Released in 1970, it reached number 9 on the Billboard Hot 100, and number 1 on the R&B chart. Knight’s voice is full of longing and hope, making every line resonate with listeners. The lush arrangement and emotional lyrics make it a standout in Motown’s catalog, and the song has been covered by numerous artists, including Alicia Keys. Despite its R&B chart success, some fans feel it should have topped the pop charts as well, given its universal appeal. The track’s influence remains undeniable, and it continues to be celebrated as one of the greatest soul songs ever recorded. Its chart performance is impressive, but many still think it deserved even more.
“That’s What Love Is Made Of” – Smokey Robinson & The Miracles
“That’s What Love Is Made Of” by Smokey Robinson & The Miracles is a joyful, playful track that captures the excitement of young love. Released in 1964, it reached number 35 on the Billboard Hot 100, never quite breaking into the upper tier. Robinson’s clever lyrics weave fairy tale references into a lighthearted celebration of romance. The Miracles’ harmonies are tight and uplifting, giving the song a sense of warmth and fun. Despite being overshadowed by some of their bigger hits, this track has become a favorite among Motown collectors. Its cheerful energy and catchy melody make it an enduring classic, and many believe it should have achieved greater commercial success. The song’s whimsical style remains fresh and inviting decades later.
“Operator” – Brenda Holloway
Brenda Holloway’s “Operator” is a soulful plea for connection, filled with longing and vulnerability. Released in 1965, the song peaked at number 78 on the Billboard Hot 100, a disappointing result for such a heartfelt performance. Holloway’s vocals are rich and expressive, capturing the urgency and emotion of reaching out to a lost love. The song’s arrangement, with its driving beat and lush backing vocals, is classic Motown. Critics have praised Holloway’s ability to convey deep emotion with subtlety and grace. Over time, “Operator” has found new life among fans and collectors, who recognize its quality and emotional depth. The track stands as a reminder that some of Motown’s best songs never got the recognition they deserved.
“I’m Livin’ in Shame” – Diana Ross & The Supremes
“I’m Livin’ in Shame” by Diana Ross & The Supremes is a dramatic, storytelling song inspired by the true story of Ross’s mother. Released in 1969, it reached number 10 on the Billboard Hot 100, but never grabbed the top spot. The track’s narrative style and emotional vocals set it apart from other Motown hits, drawing listeners into a tale of family, secrets, and regret. Ross’s performance is especially moving, and the song’s orchestration adds a cinematic quality. Despite its strong chart performance, the song is often overlooked compared to the group’s other hits. In recent years, it has gained renewed appreciation for its bold storytelling and emotional honesty. Many fans now consider it one of the Supremes’ most underrated tracks.
“I Am Love” – The Jackson 5
The Jackson 5’s “I Am Love” is an ambitious, multi-part epic that blends soul, pop, and rock into a powerful statement of unity and hope. Released in 1975, the song reached number 15 on the Billboard Hot 100, but did not become the kind of chart-topping hit fans expected from the group. Michael Jackson’s vocals are full of passion and conviction, while the complex arrangement showcases the group’s musical versatility. Critics praised the song’s ambition and creativity, but its length and unconventional structure may have limited its commercial appeal. Despite this, “I Am Love” has earned a cult following among fans, who admire its depth and artistry. The song stands as a testament to the Jackson 5’s willingness to experiment and push boundaries within the Motown sound.
“Greetings (This Is Uncle Sam)” – The Valadiers
“Greetings (This Is Uncle Sam)” by The Valadiers is a poignant, socially-conscious track that tells the story of a young man drafted into the military. Released in 1961, the song only reached number 89 on the Billboard Hot 100, but its message resonated with many listeners during a time of national uncertainty. The Valadiers’ harmonies are smooth and heartfelt, and the song’s narrative style makes it stand out from typical love songs of the era. Critics have praised the track’s willingness to tackle a difficult subject, and it has gained new recognition in recent years as a forgotten gem. The song’s emotional impact remains strong, and many believe it deserved far more attention than it received.
“Why When Love Is Gone” – The Originals
The Originals’ “Why When Love Is Gone” is a soulful lament about the pain and confusion of a failing relationship. Released in 1969, the song reached number 8 on the R&B chart but only number 59 on the pop chart. The group’s harmonies are rich and expressive, and the song’s lyrics capture the heartbreak of love lost. Over time, the song has become a favorite among soul music fans, who appreciate its honesty and emotional depth. Despite being overshadowed by the group’s bigger hits, such as “Baby I’m for Real,” this track holds a special place in Motown history. Its enduring popularity is a testament to the Originals’ talent and the song’s universal theme of heartbreak.
“Come and Get These Memories” – Martha and the Vandellas
Martha and the Vandellas’ “Come and Get These Memories” is a bittersweet farewell to a past relationship, delivered with passion and grace. Released in 1963, the song reached number 29 on the Billboard Hot 100, marking the group’s first big hit but not the chart-topper it could have been. Martha Reeves’ vocals are expressive and full of emotion, perfectly capturing the pain and hope of moving on. The track’s upbeat tempo and catchy melody make it a favorite at Motown dance parties. Over the years, the song has been recognized as a classic, influencing countless artists and earning a place in the Motown Hall of Fame. Many fans believe it should have reached number one, given its impact and popularity.
“Don’t Mess With Bill” – The Marvelettes
The Marvelettes’ “Don’t Mess With Bill” is a sassy, confident anthem that showcases the group’s vocal chemistry and playful spirit. Released in 1966, the song peaked at number 7 on the Billboard Hot 100, making it one of the group’s biggest hits. Written by Smokey Robinson, the track features witty lyrics and an infectious groove that have kept it in heavy rotation for decades. Despite its success, some fans feel it deserved to go all the way to number one, especially given its enduring popularity. The Marvelettes’ performance is full of charm and personality, and the song remains a staple of Motown compilations. Its legacy is secure, but its chart position still feels a little too low for such a classic.
“Baby I’m for Real” – The Originals
“Baby I’m for Real” by The Originals is a heartfelt, timeless love song that has become a favorite for generations of soul music fans. Released in 1969, it reached number 14 on the Billboard Hot 100 and number 1 on the R&B chart. The song’s smooth harmonies and gentle melody make it instantly memorable, while its lyrics express genuine devotion and tenderness. Produced by Marvin Gaye, the track benefited from his signature touch, blending classic Motown rhythms with a more laid-back, romantic feel. While it topped the R&B chart, many believe it should have crossed over to number one on the pop charts as well. Its enduring popularity and influence are a testament to its quality, making it one of Motown’s most beloved “almost” hits.
Besides founding Festivaltopia, Luca is the co founder of trib, an art and fashion collectiv you find on several regional events and online. Also he is part of the management board at HORiZONTE, a group travel provider in Germany.
