10 Seconds of The Marvelettes' "You're The One"

[WaitingWatchingLookingForAChance]

It ain't much...just maybe 10 seconds...but I'm listening right now to a rare radio aircheck from 1966, Soul Radio station KDIA Oakland, CA and the first song I hear is The Marvelettes' "You're The One." 'YOU'RE THE ONE!" That's one of their tunes that is only known by the most diehard of Marvelettes fans. Only about 10 seconds are played [[at the 2:00 mark) - due to copywrite laws or YouTube regulations, a lot of these uploads have to "scope" the records, cut them down to seconds. Still, what a great treat for these ears tonight!

[motony]

cool to hear. Soul radio was so cool in the 60's & early 70's.

[westgrandboulevard]

Oh yes indeed, always good to hear.

And it was played on radio here in the UK, by the offshore commercial stations.

Production is, in many ways, very similar in style to 'Don't Mess With Bill' [although recorded about six months afterwards] and why not be similar, following so closely after that hit. It said 'Marvelettes Style!'

I love Wanda's flirtatious voice with Smokey's clever lyrics....

But although I do love 'You're The One', I would have liked the background to be a tad less 'emphatic'....and a tad more 'light snap and breeziness', like 'Bill'.....a slightly lighter touch would have best matched the lyrics, but that's just my own opinion....

[arr&bee]

Are you kidding me?...[you're the one]is my favorite song by my favorite girl group.. that opening line is a killer[ a closet full of gladrags all tucked away in a pad that's swank] only smokey could come up with it and only wanda could deliver it!!

[gman]

I love almost everything by the Marvelettes....except He's A Good Guy and My Daddy Knows Best....I have the Anthology 2 LP Vinyl....and the PINK Lp on CD w/ Sophisticated Soul...

[Philles/Motown Gary]

Our local AM radio station gave The Marvelettes' "Don't Mess With Bill" and "You're The One" loads of air play. I ran out and bought both singles upon their first hearing. If I were held at gunpoint and forced to choose my favorite of the two, I think I would have to choose "You're The One: The overall tone that Smokey created was sultry, and that Hammond organ made it super sexy, as did Wanda's come-hither vocals. I wish it had performed as well on the charts as "Don't Mess With Bill", but at least it was finally included on The Marvelettes' "Sophisticated Soul" album.

[WaitingWatchingLookingForAChance]

Our local AM radio station gave The Marvelettes' "Don't Mess With Bill" and "You're The One" loads of air play. I ran out and bought both singles upon their first hearing. If I were held at gunpoint and forced to choose my favorite of the two, I think I would have to choose "You're The One: The overall tone that Smokey created was sultry, and that Hammond organ made it super sexy, as did Wanda's come-hither vocals. I wish it had performed as well on the charts as "Don't Mess With Bill", but at least it was finally included on The Marvelettes' "Sophisticated Soul" album.

I remember getting the Marvelettes Anthology and having the shock of hearing "You're The One.". I'd never heard anything about the song. At the time, I heard it as a watered-down knockoff of "Don't Mess With Bill.". But isn't it always the way that something you're not crazy about at first just kind of ends up being an earworm and gradually growing on you. Over the years I started hearing it as something completely on it's own and not a follow up. All the other comments here highlight some outstanding things about the song. It's definitely got an amazing, smoldering quality and especially in the mono mix, THAT'S where the song really comes alive. I like your point about the Hammond and Wanda's voice- that's really the one-two punch of it. Glad to hear your local station played it a lot. I've seen it on old radio surveys and it seems like it was one of those things that did well in various regions even if it didn't get the Billboard stamp of success. I really love this more today than I did yesteryear.

[WaitingWatchingLookingForAChance]

I love almost everything by the Marvelettes....except He's A Good Guy and My Daddy Knows Best....I have the Anthology 2 LP Vinyl....and the PINK Lp on CD w/ Sophisticated Soul...

I like "He's A Good Guy" but it definitely was NOT a good move to release it as a single when they had so many better things [[it was ridiculous that "Knock On My Door" couldn't get a release) but I think that one proves Katherine Anderson's point that Motown wanted to keep them in that juvenile "box" instead of allowing them to grow up. "My Daddy Knows Best" is a rare one I can't listen to -although I'll say that probably nobody else could have made those songs work but the Marvelettes.

[WaitingWatchingLookingForAChance]

I gotta say, you're right on that. That line is pure gold. Wanda is chewing the scenery like nobody's business on this one. If she was perfection in "Don't Mess With Bill," she amazingly took it next level on "You're The One.". Even when I wasn't completely into the song at first, I did recognize Wanda was giving one of her best vocal performances ever. The way she hits that opening line is one moment, but for me, when I hear her sing "...I don't have to come out and say my choice" in her falsetto and then immediately KILLS with that sultry "you can tell by the SOUND of my vooooiiiccce", a bit of me has an out of body experience! My Lord but that woman could put a spell on a single word and make it a work of art.

[WaitingWatchingLookingForAChance]

Another thing I like about this song are the drums. I wanted to highlight 'em here because those fills are really something else! To be honest, at times I get the feeling the drummer may have just went on auto pilot with those fills, lol! But dang it! I love it!

[daviddesper]

Although I like You're the One just fine, I vastly prefer Don't Mess With Bill and never really found the two to be that similar. As for the somewhat surprising criticism I am seeing for My Daddy Knows Best and He's a Good Guy, I would take those two any day over some of their very early screechier songs. Case in point "So Long Baby" is turn-off-the-stereo unlistenable, but I understand they were just getting started and needed to mature.

[motony]

as a drummer I have ALWAYS loved the drums on "You're The One". I also love "He's A Good Guy" and the earlier "My Daddy Knows Best".I personally found it strange that "Youre The One" was not on the "Pink" LP.

[Philles/Motown Gary]

I remember getting the Marvelettes Anthology and having the shock of hearing "You're The One.". I'd never heard anything about the song. At the time, I heard it as a watered-down knockoff of "Don't Mess With Bill.". But isn't it always the way that something you're not crazy about at first just kind of ends up being an earworm and gradually growing on you. Over the years I started hearing it as something completely on it's own and not a follow up. All the other comments here highlight some outstanding things about the song. It's definitely got an amazing, smoldering quality and especially in the mono mix, THAT'S where the song really comes alive. I like your point about the Hammond and Wanda's voice- that's really the one-two punch of it. Glad to hear your local station played it a lot. I've seen it on old radio surveys and it seems like it was one of those things that did well in various regions even if it didn't get the Billboard stamp of success. I really love this more today than I did yesteryear.

I loved "You're The One" from the first time I heard it, Waiting. [[Yes, the Mono version is the better of the two.) Smokey had a way with Wanda that fit her like a glove. But I know what you mean about certain songs requiring time to grow on you. What surprises me most is songs from the '60s that I couldn't stand at the time, but now, when I hear them, I actually kinda like them!

[WaitingWatchingLookingForAChance]

I loved "You're The One" from the first time I heard it, Waiting. [[Yes, the Mono version is the better of the two.) Smokey had a way with Wanda that fit her like a glove. But I know what you mean about certain songs requiring time to grow on you. What surprises me most is songs from the '60s that I couldn't stand at the time, but now, when I hear them, I actually kinda like them!

What's going on here? Are we like long-lost cousins or something lol! I'm just saying that because when I read the part about liking songs from the 60s, now, that you didn't care for back then. I swear I'm the same way. For the longest time, the ONLY 60s songs everyone knew I was into were from Motown. I had no use at all for much of anything else from that era, except The Monkees, and I believe that had very much to do with the show just being so much fun. But now, I'm constantly surprising myself with how I like stuff from the pop acts, MOR artists, and most surprisingly, artists like Donovan, Marianne Faithful, the Fifth Dimension, Beach Boys and [[heart be still) The Beatles! I think watching old Shindig episodes and YouTube has opened up my horizons and LOT.

[Philles/Motown Gary]

What's going on here? Are we like long-lost cousins or something lol! I'm just saying that because when I read the part about liking songs from the 60s, now, that you didn't care for back then. I swear I'm the same way. For the longest time, the ONLY 60s songs everyone knew I was into were from Motown. I had no use at all for much of anything else from that era, except The Monkees, and I believe that had very much to do with the show just being so much fun. But now, I'm constantly surprising myself with how I like stuff from the pop acts, MOR artists, and most surprisingly, artists like Donovan, Marianne Faithful, the Fifth Dimension, Beach Boys and [[heart be still) The Beatles! I think watching old Shindig episodes and YouTube has opened up my horizons and LOT.

Yeah, Waiting! Long-lost cousins -- that must be it! HaHa!

Correction -- Regarding '60s artists, you once told me you like Phil Spector's Philles artists [[Crystals, Ronettes, Darlene Love).

TV-wise, I used to watch Shindig faithfully; Hullabaloo, however, not so much. The reason? Because Shindig's band featured a prominent sax in its overall sound, meaning lots of soul artists, whereas Hullabaloo's band featured mostly guitars, meaning mostly white bands / British Invasion acts. The latter just wasn't for me. There were a few exceptions for watching Hullabaloo, but mostly I was a Shindig kinda guy!

[westgrandboulevard]

.....whereas Hullabaloo's band featured mostly guitars, meaning mostly white bands / British Invasion acts. The latter just wasn't for me. There were a few exceptions for watching Hullabaloo, but mostly I was a Shindig kinda guy!

Gary, white bands and British Invasion acts just weren't for me, either.....even if I do actually live in the UK! Their music in general just didn't have the resonance on transistor radio which made me want to say "Yes!"

In the last week since this thread was started, anyone else had "You're The One" going round and round in their head?

For me, there are a few runs in the lyrics, but also that sax solo...which puts me in mind of a busker, heard playing at the end of a deserted subway or underpass....

[MotownFan1]

Absolutely love “You’re The One.” With the clever lyrics, amazing vocal from Wanda, etc., I can’t believe it wasn’t a bigger hit! And yes, I’ve been listening and have had it in my head since reading this thread. Still strange to me that it’s on Sophisticated Soul, but I love that entire album.

[MotownFan1]

Wish there was a live recording of “You’re The One.” I wonder if they ever performed it live since it wasn’t a hit.

[WaitingWatchingLookingForAChance]

Yeah, Waiting! Long-lost cousins -- that must be it! HaHa!

Correction -- Regarding '60s artists, you once told me you like Phil Spector's Philles artists [[Crystals, Ronettes, Darlene Love).

TV-wise, I used to watch Shindig faithfully; Hullabaloo, however, not so much. The reason? Because Shindig's band featured a prominent sax in its overall sound, meaning lots of soul artists, whereas Hullabaloo's band featured mostly guitars, meaning mostly white bands / British Invasion acts. The latter just wasn't for me. There were a few exceptions for watching Hullabaloo, but mostly I was a Shindig kinda guy!

You've got a great memory! And Phil's music definitely was an exception. "Be My Baby" I think was the one that caught my ear first, but "Da Doo Ron Ron" hooked me with it's incredible drum fills. The box set was tremendous as an "education" in The Wall of Sound.

As for Shindig! vs. Hullabaloo, I came to those shows when they were being put out on home video and DVD and I gotta say, there was no contest; Shindig! was IT, hands down. Again, we're having similar points of view here: for me, Shindig had an incredible house band- my feeling is that Motown should have corralled these guys and whatever arrangers/producers were responsible for recording the Shindig backing tracks and used them for Motown's LA recordings. The music ROCKED on Shindig! and I often felt they had a very close feeling to what the Funk Brothers were doing. Hullabaloo used the original records [[minus lead vocals) as backing tracks on all the acts who appeared but the overall presentation and visuals just seemed so generic compared to Shindig's explosive pacing and staging. Hullabaloo gets points for some excellent Motown moments [[especially the Marvelettes' appearance) but overall, I don't watch my Hullabaloo DVDs very much.

[WaitingWatchingLookingForAChance]

I wish someone who was at Motown back then was here to shed some light on how "You're The One" ended up on "Sophisticated Soul", what, 2 years after it had been a single? I think this came up on the forum before. I have to say though, "The Pink Album", I'll always believe, was very carefully put together in a way to give both Gladys and Wanda equal leads. What's more, there seems to have been a deliberate direction as far as pacing and mood. Coul it have been that "You're The One" may have originally had a spot on the album, only to be bumped for one reason or another? Or was "You're The One" one of those songs that gained some kind of latent popularity among fans and therefore was dusted off for Sophisticated Soul? Years ago I got a chance to meet up with a fellow Marvelettes fan when he was visiting Chicago. It was fun, talking about our favorite group over a great meal of barbecue ribs! This song came up and one thing we both noticed was how, oddly, the song fit in very well among the Sophisticated Soul tracks even though it had been recorded before The Pink Album. I still think it actually does fit Sophisticated Soul's vibe perfectly.

[motony]

"You're the One" got up to #20 on the Billboard R & B Chart & #48 on the POP HOT 100.

[daviddesper]

Not to take the focus off the Marvelous ones, but there have been other Motown singles that were simply omitted altogether and were never on ANY albums, much less the wrong ones. Poor Martha had three strong singles in the 1968-1970 period, and I am sure you guys know the ones I mean, that never made it on to an album. Then there was the awesome Brenda Holloway song Just Look What You've Done that deserved to be a massive hit and carry an album all on its own, but it never appeared on any studio album. [[I still remember her Bandstand appearance.) On a similar note, I often wondered why the great Jimmy Ruffin track Baby I've Got it was never on an album, or at least I don't think it was. I am sure there are other examples.

[Philles/Motown Gary]

I like "He's A Good Guy" but it definitely was NOT a good move to release it as a single when they had so many better things [[it was ridiculous that "Knock On My Door" couldn't get a release) but I think that one proves Katherine Anderson's point that Motown wanted to keep them in that juvenile "box" instead of allowing them to grow up. "My Daddy Knows Best" is a rare one I can't listen to -although I'll say that probably nobody else could have made those songs work but the Marvelettes.

Waiting, I agree. I was never crazy about "He's A Good Guy" nor "My Daddy Knows Best" as a single. The latter's B-side -- "Tie A String Around Your Finger" -- should have been the A-side. At the time, it was the most mature song The Marvelettes had ever recorded [[well, that and "Forever"). And the vibraphone throughout gave it a touch of class, as did Gladys' excellent lead vocal.

[arr&bee]

wish there was a live recording of “you’re the one.” i wonder if they ever performed it live since it wasn’t a hit.

yes they did, the we kids ate it up!!

[WaitingWatchingLookingForAChance]

Waiting, I agree. I was never crazy about "He's A Good Guy" nor "My Daddy Knows Best" as a single. The latter's B-side -- "Tie A String Around Your Finger" -- should have been the A-side. At the time, it was the most mature song The Marvelettes had ever recorded [[well, that and "Forever"). And the vibraphone throughout gave it a touch of class, as did Gladys' excellent lead vocal.

I honestly believe Katherine nailed it when she said Motown didn't want the group to grow up. Granted, she was talking about the issues Motown had when "Don't Mess With Bill" came up in QC for a vote, but I think it applied even earlier. "Tie A String Around Your Finger" was a minor, early masterpiece that at least made it onto a single, but it really could have marked a progression for the group. This thing was remarkably constructed for the time. I'd dare even say it's a rather complex arrangement with a bold background arrangement featuring the Andantes- but they didn't use the group to "mask" the Marvelettes as much as they were on the record as a sort of adjunct, adding color with their massed "ahhhs." Oh, yeah, that vibraphone [[which was REALLY ringing on this one!) just added that touch, like you said, "a touch of class." What I also find interesting on this one is that Gladys is singing in a much softer tone that she had been- this is one of the early songs that hinted at how versatile a singer Gladys would become.

HDH were actually doing quite a lot of work with the group, a lot of quality songs that should really have had A-side status- "Forever" being one of the most perplexing- why didn't anyone see potential in this? "A Little Bit Of Sympathy, A Little Bit Of Love" was another that could have been a nice A-side. The one that galls me is "A Need For Love." Why was that one SO short? I think if Motown had turned the Marvelettes over to HDH, they may have had a few stronger hits pre-66.

[MotownFan1]

Speaking of ‘A Need For Love,’ does anyone know who the prominent voice in the background is? Is it Georgeanna or Katherine? Or neither?

[WaitingWatchingLookingForAChance]

Speaking of ‘A Need For Love,’ does anyone know who the prominent voice in the background is? Is it Georgeanna or Katherine? Or neither?

That's Katherine's voice. I remember reading that in an article about the group. You can also hear Katherine pretty prominently on "Anything You Wanna Do" and "Your Cheating Ways." But on "Need For Love" it's particularly noticeable- almost as if was by design.

[Spreadinglove21]

Besides the "fine ones" bit on Too Many Fish, are there any recordings where Georgeanna's voice is prominent in the background? And how about Wyanetta?

[WaitingWatchingLookingForAChance]

Besides the "fine ones" bit on Too Many Fish, are there any recordings where Georgeanna's voice is prominent in the background? And how about Wyanetta?

I can't think of any where either of their voices is prominent in the background- I've been going through the albums in my mind, and I'm not recalling anything. But someone else may come up with something and I'll think "OH YEAH, Of course, THAT one!"

[westgrandboulevard]

Spreadinglove21 and WaitingWatching.....

Try "Silly Boy"....Gladys, then followed by three other voices....

Around 55 seconds in....individual voices, singing in rising notes...

'Lovers lane...lovers lane.....lovers lane....'

I don't hear Wanda?, so must be Katherine, Georgeanna and Wyanetta, if not in that order?

And again, around 1.20....'silly boy.....silly boy...silly boy'......

[WaitingWatchingLookingForAChance]

WaitingWatching.....

Try "Silly Boy"....seems like four voices....so one must be Georgeanna?

Around 55 seconds in........individual voices, singing in rising notes

'Lovers Lane... lovers lane...lovers lane....'

And again, around 1.20....'silly boy.....silly boy...silly boy'......

Actually that voice you're hearing is Rosalind from the Vandellas. When I got the CD I was wondering why some songs sounded as if it were the Vandellas behind Gladys. Years later I learned through a thread here on the site that Rosalind ended up filling in for one of the Marvelettes [[Wanda? I can't recall) for the album, so she's on a couple of songs at least, including "Silly Boy."

I just found the thread where I read that about Rosalind:

https://soulfuldetroit.com/showthrea...andellas-story

[westgrandboulevard]

I'd forgotten about that....and it would figure.... the third voice sounds a 'sweeter' soprano....so I guess that would be Rosalind, with Katherine and probably Georgeanna....?

[MotownFan1]

I recall an interview where Gladys made the comment that Wyanetta contributed to the group by singing the low end of the harmonies and that if you listen carefully you can hear her voice on the early recordings.

[WaitingWatchingLookingForAChance]

I'd forgotten about that....and it would figure.... the third voice sounds a 'sweeter' soprano....so I guess that would be Rosalind, with Katherine and probably Georgeanna....?

That's the combination I'm thinking it was. Amazing how just one voice so completely changed the group's sound because I honestly thought it was the Vandellas. I figured maybe in a time-saving move they were "deputized" on that song, lol! But the fact that it was only Rosalind singing with the other Marvelettes is really something because her voice is that distinctive.

[WaitingWatchingLookingForAChance]

I recall an interview where Gladys made the comment that Wyanetta contributed to the group by singing the low end of the harmonies and that if you listen carefully you can hear her voice on the early recordings.

One song where I can hear what Gladys means is "I've Got To Cry Over You." I love the background vocal arrangement on that, it's like the girls do this overlapping, two-level arrangement on the choruses - the "sha la, sha la la la" part. You can really hear that bottom harmony part so now I know it must have been Wyanetta singing that.