The Miracles

Smokey Robinson & The Miracles - You Really Got A Hold On Me

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She’s Not A Bad Girl.
You Really Got a Hold On Me
Shop Around
What’s So Good About Goodbye
Mickey’s Monkey

The Monkey Time 

Orig: Major Lance

I Gotta Dance to Keep From Crying

Going To A Go Go

A Whole Lotta Shakin Going On In My Heart

(Come ‘Round Here) I’m the One You Need

If You Can Want

All major floor fillers and huge hits at the Twisted Wheel in Manchester.

Their slower numbers were no less popular too:

The Tracks of My Tears

Ooo Baby Baby

My Girl Has Gone

More Love

Kim Carnes also hit with this

A Love She Can Count On

I Like It Like That

That’s What Love Is Made Of

I Second That Emotion

 Many years ago, I came into the room, the TV showing Strictly Come Dancing,  a new season of something I never normally watch. I heard an awful version of “Get Ready” by The Temptations ousing out of the TV speakers, it was a banal song and dance routine that made me want to throw up. As I searched for the remote to turn the awful parody of a wonderful recording I had prized since 1966 I saw that it was in fact Smokey Robinson carving up the song! Well he did write it…

I remember distinctly feeling sorry for myself after having my heart broken by an ex-girlfriend. Just to make the agony complete, this song seemed to be playing all the time, everywhere I turned… The Tracks of My Tears.

The Tracks of My Tears - Smokey Robinson & The Miracles

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Lum de  lum de la ha…”  and that intro to Mickey’s Monkey forever more in my mind is now associated with Robert DeNero dancing to it outside the bar scene as small-time criminal Johnny Boy in Mean Streets (1973).

The impact of Smokey Robinson

If you’re looking for the all-time #1 purveyor of mainstream romantic soul, Smokey Robinson may well be the man, despite  some stiff competition. With the Miracles in the 1960s, he paced dozens of tuneful Motown hits with his beautiful high tenor. As a solo performer from the 1970s onwards, he’s been one of the staples of urban contemporary music. But his singing gifts, as notable as they are, comprise only one of his hats, he’s also one of pop’s best and most prolific songwriters. As a songwriter and producer, he was the most important musical component to Motown’s early success, not only on the hits by the Miracles, but for numerous other acts as well (especially Mary Wells and the Temptations).

Robinson first crossed paths with Motown founder Berry Gordy, Jr. in the late 1950s in Detroit. In retrospect, this may have been the most important meeting in both men’s lives. Smokey needed a mentor and an outlet for his budding talents as a singer and songwriter; the ambitious Gordy needed someone with multi-faceted musical vision. Gordy encouraged and polished Robinson’s songwriting in particular in the early days, in which the Miracles were one of many acts bridging the doo wop and early soul eras.

Before solidifying their relationship with the embryonic Motown operation, the Miracles issued a few singles on the End and Chess labels, the most successful of which was “Got a Job.” There was no national action for the Miracles until “Shop Around” in late 1960. Gordy withdrew the original single in favor of a faster, more fully produced version of the song; it made #2, doing much not only to establish the Miracles, but to establish the Motown label itself. The song also heralded many of the important elements of the Motown sound, with its gospelish interplay between lead and backup vocals, its rhythmic groove, and its blend of R&B and pop.

While Smokey Robinson is most often thought of as a romantic balladeer, the Miracles were also capable of grinding out some excellent uptempo party tunes, particularly in their early days. “Mickey’s Monkey” (which the group gave an athletically electrifying performance of in the 1964 T.A.M.I. Show movie), a 1963 Top Ten hit, is the most famous of these; there was also “Going to a Go-Go” and smaller hits like “I Gotta Dance to Keep from Crying.” The 1962 Top Ten hit “You’ve Really Got a Hold on Me,” however, was the key cut in forming Robinson’s romantic persona, with its pleading, soaring vocals, exquisite melody, and carefully crafted lyrics. Bob Dylan was impressed enough by Robinson’s facility for imaginative wordplay to dub him “America’s greatest living poet” (a phrase which has possibly become the most quoted example of one rock giant praising another).

Surveying Robinson’s achievements during the 1960s, one wonders if the man ever slept. While the Miracles were never Motown’s biggest act at any given time, they were one of its very most consistent, entering the Top Forty 25 times over the course of the decade. “I Second That Emotion,” “The Love I Saw in You Was Just a Mirage,” “The Tracks of My Tears,” “Ooo Baby Baby,” “Baby, Baby Don’t Cry” were some of their biggest singles, and usually represented Motown at its most sophisticated and urbane. Robinson also was extremely active at Motown as a songwriter and producer for other acts. The #1 singles “My Guy” (Mary Wells) and “My Girl” (Temptations) were each Robinson songs and productions (the latter with fellow Miracle Ronnie White), and Smokey also did some excellent work with the Marvelettes and Marvin Gaye. He also toured with the Miracles, and started a family with the Miracles’ female singer, Claudette Rogers, whom he married in 1964. Rogers stopped touring with the group in the mid-’60s, although she continued to sing on their records.

Starting in 1967, the billing on Miracles releases was changed to Smokey Robinson & the Miracles, presaging Robinson’s solo career. The group continued to spin out hits until the early ’70s, however, getting their only #1 in 1970 with the upbeat “The Tears of a Clown” (which had actually been recorded back in 1966). Robinson left the group to go on his own in 1972; the Miracles continued without him with limited success, although they had a #1 hit in 1976 with “Love Machine (Part 1).”

Robinson had been made a vice president at Motown near the beginning of his career in 1961. He recorded frequently as a solo artist for Motown in the ’70s and ’80s, in a considerably mellower vein than his Miracles work, in keeping with the general shift of Motown and soul towards urban contemporary. Smokey, in fact, provided that genre with one of its catch phrases with the title of his 1975 album, A Quiet Storm. “Cruisin'” (1979) and “Being with You” (1981) were his biggest solo hits, although artistically and commercially, his solo era wasn’t nearly as successful as his music with the Miracles.

~ Richie Unterberger, All-Music Guide

Wikipedia: The Miracles