The Miracles -

The Miracles were an American soul group from Detroit, best known for the Motown hits “Shop Around,” “You’ve Really Got a Hold on Me,” “Going to a Go-Go,” “I Second That Emotion,” “Tracks of My Tears,” “Ooh Baby Baby,” and “Tears of a Clown.” During their 1960s heyday, Tamla billed them as Smokey Robinson & The Miracles. After Robinson’s 1972 departure, they cut seven albums with singer Billy Griffin and scored a 1976 funk hit with “Love Machine.”

Members: Ronald White (vocals, 1955-78, 1980-83, 1993-95), Warren Moore (vocals, 1955-78), Smokey Robinson (vocals, 1955-72), Clarence Dawson (vocals, 1955), James Grice (vocals, 1955), Robert Rogers (vocals, 1956-78, 1980-83, 1993-2011), Emerson “Sonny” Rogers (vocals, 1956), Claudette Robinson (vocals, 1956-64), Marvin Tarplin (guitar, vocals, 1959-74), Billy Griffin (vocals, 1972-78), Donald Griffin (guitar, vocals, 1977-78)

Background

The Miracles originated in the Five Chimes, a doo-wop quintet formed in 1955 Detroit by teenagers William “Smokey” Robinson (b. Feb. 19, 1940), Warren “Pete” Moore (1938–2017), and Ronnie White (1939–1995), classmates from Northern High School who’d sung together since their tweens.

Fellow founders Clarence Dawson and James Grice soon cleared way for cousins Sonny and Bobby Rogers (1940–2013), whose arrival prompted a name-change to The Matadors. Despite meeting for the first time at age fifteen, Smokey and Bobby were born on the same date at the same hospital. When Sonny joined the Army in 1957, the group hired his younger sister Claudette Rogers (b. 1942), who sang in a female counterpart combo called The Matadorettes. Smokey and Claudette became a couple.

Early Singles

In late 1957, The Matadors auditioned for Brunswick Records in front of label staff writer Berry Gordy and members of Jackie Wilson’s management team. Gordy, impressed with Robinson’s voice and his notebook of songs, took the group under his wing. He wrote and produced their first a-side, “Got a Job” (a response to The Silhouettes “Get a Job”). Just prior to the single’s March 1958 release on soul-press End, the group changed its name to The Miracles.

Their second End single, “Money” (b/w “I Cry”), appeared that August. Both songs, like the subsequent six singles, are Gordy-Robinson co-writes. Dismayed by the small returns, Gordy took Robinson’s advice and started his own label, Tamla, established in 1959. One of its earliest singles was the Miracles’ third release, “The Feeling Is So Fine” (b/w “You Can Depend On Me“).

That summer, The Miracles first cracked the charts (No. 93) with their fourth single, “Bad Girl” (b/w “I Love Your Baby”), distributed nationally by Chess, which also issued their 1960 single “I Need a Change” (b/w “All I Want (Is You)”). Between those two, Robinson and White cut the single “It” (b/w “Don’t Say Bye-Bye”), issued on Tamla under the name Ron & Bill.

1960 Singles

In 1960, Robinson auditioned an aspiring female vocal combo, The Primettes. In exchange for introducing them to the now-powerful Gordy, they handed their guitarist, Marv Tarplin, over to Smokey’s group, thus finalizing the classic Miracles lineup. (The Primettes later morphed into Motown stars The Supremes.)

The Miracles cracked Billboard a second time (No. 94) with their spring 1960 single, “Way Over There” (b/w “(You Can) Depend on Me”).

That fall, they hit the big time with their next single, “Shop Around” (b/w “Who’s Lovin’ You”). With its darting vocal melody, abrupt chorus, sublime saxophone solo, and remote instrumental backing, “Shop Around” rocketed to No. 2 on the Billboard Hot 100 and No. 1 on the Billboard R&B chart and Cashbox Top 100.

To captilalize on The Miracles newfound fame, End reissued their 1958 recording “Money,” which had since became Motown’s inaugural hit through a cover by Barrett Strong.

1961 Singles

In March 1961, The Miracles released “Ain’t It Baby,” written by Smokey Robinson and Berry Gordy, backed with “The Only One I Love,” another Robinson composition. Produced by Gordy, the single showed the group’s tightening vocal blend and Robinson’s growing lyrical assurance. “Ain’t It Baby” reached No. 49 on the Billboard Pop chart and No. 15 on the R&B chart.

In June 1961, The Miracles released “Broken Hearted,” a Robinson/Moore song backed with “Mighty Good Lovin’,” another group original. The single was produced by Gordy and featured Marv Tarplin’s guitar work becoming central to their sound. “Broken Hearted” reached No. 97 on the Hot 100 and No. 51 on the R&B chart.

In September 1961, The Miracles issued “Everybody’s Gotta Pay Some Dues,” written by Smokey Robinson and Ronald White, backed with “I Can’t Believe,” a Robinson composition. Produced by Gordy, the record reflected Motown’s move toward smoother, gospel-inspired harmonies. It reached No. 52 Pop and No. 11 R&B.

In December 1961, The Miracles released “What’s So Good About Good-By,” a Robinson song backed with “I’ve Been Good to You,” another Robinson original. Produced by Gordy, it offered a melancholy, reflective tone that prefigured later soul ballads. “What’s So Good About Good-By” peaked at No. 35 Pop and No. 16 R&B.

1962 Singles

In April 1962, The Miracles released “I’ll Try Something New,” written and produced by Smokey Robinson, backed with “You Never Miss a Good Thing.” The record’s orchestral arrangement marked an ambitious step for Motown’s in-house sound. “I’ll Try Something New” reached No. 39 on the Pop chart and No. 11 on the R&B chart.

In August 1962, The Miracles issued “Way Over There,” written by Smokey Robinson, backed with “If Your Mother Only Knew.” Produced by Berry Gordy, this re-recording of their earlier Tamla song benefited from improved studio techniques. It reached No. 94 on the Pop chart and No. 11 R&B.

In November 1962, The Miracles released “You’ve Really Got a Hold on Me,” written and produced by Smokey Robinson, backed with “Happy Landing,” a Robinson/White song. Initially promoted as a B-side, “Hold on Me” became the breakout hit, a million-seller later inducted into the Grammy Hall of Fame. It reached No. 8 on the Hot 100 and No. 1 on the R&B chart.

1963 Singles

In March 1963, The Miracles released “A Love She Can Count On,” a Robinson composition backed with “I Can Take a Hint.” Produced by Robinson, the single extended the gospel-inflected warmth of its predecessor. It reached No. 31 Pop and No. 21 R&B.

In July 1963, The Miracles released “Mickey’s Monkey,” written and produced by Holland–Dozier–Holland, backed with “Whatever Makes You Happy.” Its high-energy “party” production helped spark a national dance craze. “Mickey’s Monkey” reached No. 8 on the Pop chart and No. 3 R&B.

In October 1963, The Miracles released “I Gotta Dance to Keep from Crying,” another Holland–Dozier–Holland composition backed with “Such Is Love, Such Is Life.” The follow-up to “Mickey’s Monkey,” it maintained the same live feel and rhythmic drive. “I Gotta Dance to Keep from Crying” reached No. 35 Pop and No. 17 R&B.

In November 1963, The Miracles issued the holiday single “The Christmas Song,” backed with “Christmas Everyday,” both produced by Robinson for promotional release only. The record became a collector’s rarity, showcasing the group’s rich harmonies and Robinson’s phrasing.

1964 Singles

In January 1964, The Miracles released “(You Can’t Let the Boy Overpower) The Man in You,” written by Smokey Robinson and produced by Robinson and Berry Gordy, backed with “Heartbreak Road.” A gospel-inflected moral lesson, it reached No. 59 Pop and No. 12 on the Cash Box R&B chart.

In June 1964, The Miracles released “I Like It Like That,” a Robinson/Marv Tarplin composition backed with “You’re So Fine and Sweet.” Produced by Robinson, it returned to the exuberant “party” format that characterized their 1963 hits. “I Like It Like That” reached No. 27 Pop and No. 10 R&B.

In August 1964, The Miracles released “That’s What Love Is Made Of,” written by Robinson, Bobby Rogers, and Pete Moore, backed with “Would I Love You.” Produced by Robinson, it incorporated nursery-rhyme wordplay and call-and-response vocals. “That’s What Love Is Made Of” reached No. 35 Pop and No. 9 R&B.

In November 1964, The Miracles released “Come On Do the Jerk,” a Robinson/Moore/Rogers/Whited composition backed with “Baby Don’t You Go.” Produced by Robinson and Rogers, it followed the dance-craze tradition of “Mickey’s Monkey.” “Come On Do the Jerk” reached No. 50 Pop and No. 22 on the Cash Box R&B chart.

Going to a Go-Go

Smokey Robinson & the Miracles released their seventh album, Going to a Go-Go, on November 1, 1965, on Tamla.

The album blends uptempo rhythm numbers with ballads that highlight the Miracles’ vocal interplay and Robinson’s light, elastic phrasing. The Funk Brothers supply instrumental backing with drummer Benny Benjamin, bassist James Jamerson, pianist Earl Van Dyke, and percussionists Eddie “Bongo” Brown and Jack Ashford, while guitarist Marv Tarplin provides signature opening figures on several key tracks.

Robinson wrote or co-wrote eleven of the twelve tracks, working primarily with Warren “Pete” Moore, who collaborated with him on seven songs. Tarplin co-wrote the title track and “The Tracks of My Tears,” while Ronald White and Bobby Rogers contributed to select numbers. Hal Davis and Frank Wilson supplied the lone outside composition, “My Baby Changes Like the Weather.”

The opening side includes their 1965 hit “The Tracks of My Tears,” a Robinson–Moore–Tarplin composition anchored by Tarplin’s understated guitar motif. “Ooo Baby Baby” takes the form of a remorseful slow ballad, while “Going to a Go-Go” merges a clipped beat with an invitation to the title dance party. “My Girl Has Gone” expands on the guitar-driven contour that Tarplin developed for “Tracks.” “Choosey Beggar” closes the side on a stately, mid-tempo rhythm with spare percussion. The second side offsets the reflective “A Fork in the Road” with lighter numbers such as “From Head to Toe” and “Let Me Have Some.”

A1. “The Tracks of My Tears” (2:59) — Robinson, Moore, Tarplin; lead vocals: Smokey Robinson. Built around Marv Tarplin’s delicate guitar figure, the song frames Robinson’s restrained tenor within a structure that balances lament and poise. Its lyric of concealed sorrow became one of Motown’s most enduring metaphors for emotional performance. The single reached No. 16 on the Billboard Pop chart and No. 2 R&B, later earning induction into the Grammy Hall of Fame.

A2. “Going to a Go-Go” (2:44) — Robinson, Moore, Rogers, Tarplin; lead vocals: Smokey Robinson. Propelled by Benny Benjamin’s steady pattern and call-and-response refrains, the song captures the social optimism of the Motown dance era. The Miracles’ unified delivery invites collective participation, while Robinson’s phrasing situates the group as both narrators and hosts. Released as a single, it reached No. 11 Pop and No. 2 R&B.

A3. “Ooo Baby Baby” (2:47) — Robinson, Moore; lead vocals: Smokey Robinson. A slow ballad built on suspended harmonies and vocal layering, its melody rests on incremental rises that mirror the lyric’s remorse. Robinson’s falsetto functions less as ornament than as emotional extension of the chord progression. The single peaked at No. 16 Pop and No. 4 R&B, later reinterpreted across multiple genres. Later covered by Linda Ronstadt, Todd Rundgren, and Ella Fitzgerald.

A4. “My Girl Has Gone” (2:52) — Robinson, Moore, Rogers, Tarplin; lead vocals: Smokey Robinson. Set in a minor key rare for early Motown, the track uses choral textures to offset the loss at its center. Tarplin’s 12-string guitar and the Miracles’ harmonies create a sense of propulsion that prevents the song from settling into melancholy. It reached No. 14 Pop and No. 3 R&B in late 1965.

A5. “In Case You Need Love” (2:44) — Robinson, Moore, Rogers, Tarplin; lead vocals: Smokey Robinson. The arrangement alternates between clipped rhythmic verses and a lifted chorus that opens into vocal interplay. Robinson’s lyric presents reassurance as performance, aligning with the group’s ongoing exploration of empathy as a musical theme.

A6. “Choosey Beggar” (2:31) — Robinson, Moore, Rogers, Tarplin; lead vocals: Smokey Robinson. Built around a mid-tempo shuffle and cyclical chord pattern, the song’s irony lies in the narrator’s self-aware vulnerability. The vocal blend moves in tight parallel motion, underscoring the humility in the lyric. Released as a single, it reached No. 35 Pop and No. 4 R&B.

B1. “Since You Won My Heart” (2:24) — Robinson, Moore, Rogers, Tarplin; lead vocals: Smokey Robinson. A compact uptempo number, it layers handclaps and horns around Robinson’s bright lead. The interplay between rhythmic stabs and falsetto phrases gives the track its dynamic contour, typical of Motown’s 1965 studio sound.

B2. “From Head to Toe” (2:34) — Robinson, Moore, Rogers, Tarplin; lead vocals: Smokey Robinson. Driven by percussive guitar and steady tambourine, the song uses physical imagery to map affection through movement. The call-and-response structure recalls “Mickey’s Monkey,” translating dance-floor energy into concise pop form.

B3. “All That’s Good” (2:46) — Robinson, Moore, Rogers, Tarplin; lead vocals: Smokey Robinson. The lyric turns inward, framing gratitude as confession over a restrained rhythm section. Subtle key shifts support Robinson’s vocal dynamics, revealing the song’s devotional tone beneath its polished surface.

B4. “My Baby Changes Like the Weather” (2:40) — Robinson, Moore, Rogers, Tarplin; lead vocals: Smokey Robinson. A brisk tempo and ascending bass line animate the song’s playful complaint of romantic instability. The arrangement’s clipped phrasing and group harmonies maintain lightness despite lyrical uncertainty.

B5. “Let Me Have Some” (2:39) — Robinson, Moore, Rogers, Tarplin; lead vocals: Smokey Robinson. Built on a syncopated groove and responsive background vocals, the track blends flirtation with precision. The lyric’s repetition of request becomes rhythmic rather than rhetorical, emphasizing the Miracles’ ensemble control.

B6. “A Fork in the Road” (3:24) — Robinson, Moore, Rogers, Tarplin; lead vocals: Smokey Robinson. Closing the album, this slow, contemplative ballad uses chromatic shifts to underscore a choice between love and solitude. The Miracles’ harmonies expand gradually behind Robinson’s phrasing, resolving the record’s emotional arc toward resignation. Although not issued as a single, it became one of the group’s most requested album cuts and a recurring concert finale.

Sessions occurred at Hitsville USA in Detroit with Smokey Robinson producing and Pete Moore arranging the vocal parts. The Funk Brothers provide instrumentation throughout.

Motown promoted Going to a Go-Go with “Ooo Baby Baby” (b/w “All That’s Good”), released on March 5, 1965; it reached No. 4 on the Billboard R&B chart and No. 16 on the Hot 100. “The Tracks of My Tears” (b/w “A Fork in the Road”) followed on June 23 and peaked at No. 2 R&B and No. 16 Pop. “My Girl Has Gone” (b/w “Since You Won My Heart”) appeared on September 22, reaching No. 3 R&B and No. 14 Pop. “Going to a Go-Go” (b/w “Choosey Beggar”) was issued on December 6 and hit No. 2 R&B and No. 11 Pop.

The album’s songs have since been widely covered: “The Tracks of My Tears” by Linda Ronstadt (1975), “Ooo Baby Baby” by Todd Rundgren (1973), and “My Girl Has Gone” by Etienne Daho (1992), among others.

Away We a Go-Go

Smokey Robinson & the Miracles released their eighth album, Away We a Go-Go, on November 16, 1966, on Tamla.

The album combines uptempo R&B numbers with mid-tempo and slow ballads, balancing contemporary Motown originals with outside hits of the era. The Miracles recorded most of the material with the Funk Brothers at Hitsville USA in Detroit, supplemented by New York session players and backing vocals by the Andantes on select tracks. Guitarist Marv Tarplin provides rhythmic figures on several numbers.

Smokey Robinson wrote or co-wrote four songs for the album. Frank Wilson supplied “Whole Lot of Shakin’ in My Heart (Since I Met You),” and Holland–Dozier–Holland contributed the charting single “(Come ’Round Here) I’m the One You Need.” The set also features covers of songs popularized by Dusty Springfield (“You Don’t Have to Say You Love Me”), the Temptations (“Beauty Is Only Skin Deep”), and Dionne Warwick (“Walk On By,” “I Just Don’t Know What to Do with Myself”). Motown songwriters Ivy Jo Hunter and Stevie Wonder collaborated on “Can You Love a Poor Boy.”

The album opens with the propulsive “Whole Lot of Shakin’ in My Heart (Since I Met You),” which layers fast vocal exchanges over a brisk rhythm section. “(Come ’Round Here) I’m the One You Need” takes the form of a consoling plea, structured around the Holland–Dozier–Holland hit formula. “Save Me” and “Oh Be My Love” bring understated ballad phrasing, while “Beauty Is Only Skin Deep” reworks the Temptations’ recent hit in the Miracles’ vocal style. On “Walk On By” and “I Just Don’t Know What to Do with Myself,” Robinson stretches into the melodic contours of Bacharach–David pop writing.

A1. “Whole Lot of Shakin’ in My Heart (Since I Met You)” (2:42) — written and produced by Frank Wilson; A rapid, syncopated rhythm propels Robinson’s narration of sudden infatuation that alters his behavior and outlook. The Miracles’ interlocking vocals punctuate each phrase, underscoring the lyric’s restlessness. The dense brass and rhythm section arrangement typifies Motown’s mid-1966 studio intensity.

A2. “You Don’t Have to Say You Love Me” (2:37) — Pino Donaggio, Vito Pallavicini, Simon Napier-Bell, Vicki Wickham; produced by Mickey Gentile; Originally an Italian ballad (“Io che non vivo (senza te)”), the song conveys acceptance of love’s uncertainty. Robinson’s phrasing reduces its operatic sentiment to quiet endurance, with The Andantes’ harmonies sustaining the emotional line. Adapted adapted to English for Dusty Springfield’s 1966 UK chart-topper.

A3. “(Come ’Round Here) I’m the One You Need” (2:33) — Brian Holland, Lamont Dozier, Edward Holland Jr.; produced by Holland–Dozier–Holland; Here Robinson offers patient counsel to a woman mistreated by another, his voice framed by urgent rhythmic phrasing and chant-like responses. The lyric’s consolation becomes insistence through repetition. Holland–Dozier–Holland’s structure emphasizes circular tension rather than release.

A4. “Save Me” (2:25) — William “Smokey” Robinson, Robert Rogers, Warren “Pete” Moore; produced by Robinson; The song alternates pleading verses with clipped ensemble responses, depicting emotional dependence as both confession and performance. Its tight rhythm pattern supports a vocal interplay that balances restraint and intensity. Later adapted in Jamaican ska as Rude Boy Prayer.

A5. “Oh Be My Love” (2:49) — Robinson, Moore; produced by Robinson; Built on a gently pulsing rhythm and ascending vocal lines, the lyric seeks devotion without ornament. The Miracles’ layered harmonies amplify the tone of directness and resolve. Later covered by Barbara Lewis, the Supremes, and Barbara McNair.

A6. “Can You Love a Poor Boy” (3:16) — Ivy Jo Hunter, Stevie Wonder; produced by Hunter; A spare arrangement of piano and rhythm accents supports a lyric of economic humility and romantic appeal. Robinson’s phrasing gives weight to the question at its core, turning the narrative of poverty into a study of dignity and desire.

B1. “Beauty Is Only Skin Deep” (2:16) — Norman Whitfield, Edward Holland Jr.; produced by Whitfield; popularized in 1966 by the Temptations. The Miracles’ earlier take highlights the moral clarity of the lyric, using crisp ensemble phrasing and restrained instrumentation.

B2. “I Just Don’t Know What to Do with Myself” (2:27) — Burt Bacharach, Hal David; produced by Mickey Gentile; Set against Bacharach’s deliberate harmonic turns, Robinson conveys indecision through elongated phrasing. The Miracles’ quiet support gives spatial balance to a lyric suspended between longing and inertia. Originated as a 1962 single by Tommy Hunt and popularized in 1964 by Dionne Warwick.

B3. “Baby Baby” (2:58) — Helen Lewis, Kay Lewis; produced by Frank Wilson; A measured ballad of reassurance, its lyric frames affection as a stabilizing force amid uncertainty. The Lewis Sisters’ writing emphasizes direct appeal, which Robinson delivers with unembellished sincerity.

B4. “Walk On By” (2:45) — Bacharach, David; produced by Mickey Gentile; This interpretation reduces Dionne Warwick’s original tempo to a reflective pace, accentuating the lyric’s restraint. Robinson’s delivery avoids overt pathos, letting the phrasing mirror quiet composure in public heartbreak. A hit for Dionne Warwick (1964), Isaac Hayes (1969), and The Stranglers (1978).

B5. “Swept for You Baby” (3:00) — Robinson; produced by Robinson; The song’s gradual harmonic ascent parallels the narrator’s surrender to affection. Interwoven background lines create a sense of inevitability, reinforcing the lyric’s movement toward emotional surrender.

B6. “More, More, More of Your Love” (2:42) — Robinson; produced by Robinson; Closing the album, the track presents desire as accumulation—each plea building upon the last. Its rhythm maintains propulsion through subtle shifts in emphasis, ending the record with understated persistence rather than climax. Later covered by Bob Brady and the Con Chords.

Sessions occurred at Hitsville USA in Detroit with Smokey Robinson, Frank Wilson, Holland–Dozier–Holland, Mickey Gentile, Ivy Jo Hunter, and Norman Whitfield producing their respective tracks.

Tamla promoted Away We a Go-Go with “Whole Lot of Shakin’ in My Heart (Since I Met You)” (b/w “Oh Be My Love”), released on May 27, 1966, which reached No. 20 on the Billboard R&B chart and No. 46 on the Hot 100. “(Come ’Round Here) I’m the One You Need” followed on October 19 (b/w “Save Me”), peaking at No. 4 R&B and No. 17 Pop.

“Whole Lot of Shakin’ in My Heart” has since been covered by the Hellacopters and Marv Johnson. “Save Me” inspired multiple ska versions. “More, More, More of Your Love” was later recorded by Bob Brady and the Con Chords.

Make It Happen

Smokey Robinson & the Miracles released their ninth album, Make It Happen, on August 29, 1967, on Tamla.

The album combines buoyant uptempo numbers with intricate ballads that highlight Smokey Robinson’s contoured vocal phrasing and the group’s layered harmonies. Instrumentation comes from The Funk Brothers and assorted Los Angeles session players, with guitarist Marv Tarplin featured prominently.

Robinson wrote or co-wrote nine of the twelve tracks. Guitarist Tarplin co-wrote “The Love I Saw in You Was Just a Mirage” with Robinson, and Stevie Wonder collaborated on three numbers, including “The Tears of a Clown.” Holland–Dozier–Holland supplied “It’s a Good Feeling,” and the group covers Little Anthony & the Imperials’ 1964 hit “I’m on the Outside (Looking In).”

The opening sequence moves from the light swing of “The Soulful Shack” to the guitar-anchored “The Love I Saw in You Was Just a Mirage.” “More Love” stands apart as a personal statement from Robinson to Claudette Robinson, who remained a non-touring member of the Miracles after multiple miscarriages. Wonder’s contributions bring sharper rhythmic turns to “After You Put Back the Pieces (I’ll Still Have a Broken Heart)” and “My Love Is Your Love (Forever).” The closing “The Tears of a Clown,” later a No. 1 hit, contrasts a playful carnival motif with Robinson’s lyrical image of a public smile masking private sorrow.

A1. “The Soulful Shack” (2:48) — written by William “Smokey” Robinson; produced by Robinson. The opener sets a tone of renewal, its lyric describing a haven built from faith and affection. The arrangement’s clipped rhythm and brass accents counter the easy lilt of Robinson’s phrasing, framing devotion as daily work rather than abstraction.

A2. “The Love I Saw in You Was Just a Mirage” (2:57) — Robinson, Marvin Tarplin; produced by Robinson and Warren “Pete” Moore. Introduced by Tarplin’s 12-string guitar figure, the song unfolds as a reflection on misplaced trust. Robinson’s vocal narrates discovery rather than confrontation, the chorus revealing the deception’s calm aftermath. The lyric’s imagery of illusion turns the personal into allegory.

A3. “My Love for You” (2:48) — Clarence Paul, Morris Broadnax; produced by Paul. The lyric pledges steadiness against doubt, conveyed through even rhythmic pacing and unembellished phrasing. Robinson’s delivery shapes each line as affirmation, sustained by the group’s narrow, unified harmony.

A4. “I’m on the Outside (Looking In)” (3:07) — Teddy Randazzo, Bobby Weinstein; produced by Robinson. First recorded by Little Anthony & the Imperials in 1964, the song places exclusion at its emotional core. Robinson retains the original’s restraint but deepens its tone of isolation, treating each refrain as resigned acceptance rather than plea.

A5. “Don’t Think It’s Me” (2:34) — Robinson; produced by Robinson. Built around short rhythmic exchanges, the lyric rejects guilt and misunderstanding. The Miracles’ answering vocals heighten the sense of distance between partners, turning self-defense into quiet explanation.

A6. “My Love Is Your Love (Forever)” (2:38) — Ivy Jo Hunter, Stevie Wonder; produced by Hunter. A mid-tempo declaration of constancy, anchored by interlocking rhythm parts and light orchestral texture. Robinson’s lines rise and taper in contoured motion, mirroring the lyric’s persistence through time and separation.

B1. “More Love” (2:47) — Robinson; produced by Robinson. Written for Claudette Robinson after a series of miscarriages, the song expresses gratitude amid loss. Its measured pace and uncluttered phrasing turn personal pain into composure, transforming endurance into devotion.

B2. “After You Put Back the Pieces (I’ll Still Have a Broken Heart)” (2:55) — Clarence Paul, Broadnax, Wonder; produced by Paul. The lyric admits that reconciliation cannot restore wholeness. Wonder’s harmonic shifts give the track unsettled movement, while Robinson’s calm tone underscores the permanence of damage.

B3. “It’s a Good Feeling” (2:38) — Brian Holland, Lamont Dozier, Edward Holland Jr.; produced by Holland-Dozier-Holland. A brisk dance number framed by staccato horns and percussion, celebrating joy without irony. The lyric’s repetition and clipped phrasing translate elation into physical rhythm, sustaining propulsion without variation.

B4. “You Must Be Love” (2:36) — Robinson, Moore; produced by Robinson. Built from close-voiced harmonies and steady pulse, the lyric equates love with recognition. The arrangement’s clarity mirrors the theme’s directness—an unbroken chain of affirmation between singer and subject.

B5. “Dancing’s Alright” (2:39) — Robinson, Tarplin, Moore, Robert Rogers, Ronald White; produced by Robinson. Collectively written by the group, this track frames movement as release. The interwoven vocals operate less as background than dialogue, their rhythmic precision turning communal motion into order.

B6. “The Tears of a Clown” (3:05) — Robinson, Wonder, Henry “Hank” Cosby; produced by Robinson and Cosby. Set to Wonder and Cosby’s calliope-like motif, Robinson’s lyric masks grief behind theatrical imagery. The narrator likens his hidden sorrow to a performer’s painted smile, with the shifting pace and orchestral colors emphasizing irony and concealment.

Sessions occurred at Hitsville USA in Detroit and in Los Angeles with Smokey Robinson, Hank Cosby, Brian Holland, and Lamont Dozier producing. Cosby arranged “The Tears of a Clown” from an instrumental conceived by Wonder and added its distinct calliope and bassoon figures.

Motown promoted Make It Happen with “The Love I Saw in You Was Just a Mirage” (b/w “Come Spy with Me”), released January 27, 1967; it reached No. 10 on the Billboard R&B chart and No. 20 on the Hot 100. “More Love” (b/w “Swept for You Baby”) followed on May 26, reaching No. 5 R&B and No. 23 Pop. “The Tears of a Clown” remained an album track until July 1970, when Motown’s UK division issued it as a single. It hit No. 1 in the UK and the US, prompting a domestic reissue of Make It Happen under the title The Tears of a Clown.

Kim Carnes covered “More Love” in 1980, reaching the US Top 10. The Beat issued a ska version of “The Tears of a Clown” in late 1979 as their debut single.

Special Occasion

Smokey Robinson & the Miracles released their tenth album, Special Occasion, on August 26, 1968, on Tamla.

The album blends polished uptempo soul numbers with mid-tempo ballads and features both original material and select Motown and pop covers. Instrumentation comes from the Funk Brothers with guitarist Marv Tarplin providing signature figures across multiple tracks.

Smokey Robinson wrote or co-wrote eight of the twelve tracks, working closely with Al Cleveland and Warren “Pete” Moore. They cover songs popularized by Gladys Knight & the Pips (“I Heard It Through the Grapevine” and “Everybody Needs Love”) and the Beatles (“Yesterday”). “Give Her Up” originated with Martha & the Vandellas in 1963.

The opening sequence pivots between contoured rhythm numbers like “Yester Love” and “If You Can Want” and the calypso-tinged title track. Side one also includes their rendition of Norman Whitfield and Edward Holland Jr.’s “Everybody Needs Love” and the early Motown song “Give Her Up.” The second side opens with their original 1966 recording of “I Heard It Through the Grapevine,” later re-recorded after the success of the Pips’ hit version. They soften the Beatles’ “Yesterday” into a slow ballad framed by restrained harmonies. “Much Better Off,” a Smokey–Moore composition, became a regional favorite and a later sampling source for hip-hop producers.

A1. “Yester Love” (2:38) — Robinson, Al Cleveland; produced by William “Smokey” Robinson. A reflection on love’s passing, its title framing affection as memory rather than event. Robinson’s vocal retraces the optimism of plans once shared, now displaced by loss, while Marv Tarplin’s guitar outlines the melody’s receding motion.

A2. “If You Can Want” (2:43) — Robinson; produced by Robinson. The lyric builds an argument for reciprocity: desire as the first step toward commitment. The rhythm section’s quick pulse underscores the narrator’s patience, and the Miracles’ answering lines affirm the conditional hope embedded in each refrain.

A3. “Special Occasion” (2:48) — Robinson, Cleveland; produced by Robinson. A celebration of newfound love presented through ceremonial imagery. Robinson likens affection to a rite marked by ritual dress and toasts, his delivery alternating between buoyant declaration and intimate address.

A4. “Everybody Needs Love” (2:58) — Norman Whitfield, Edward Holland Jr.; produced by Whitfield. Recast from earlier Motown recordings, the Miracles’ version centers on universality over personal longing. Robinson’s lead remains poised against the ensemble’s steady harmonic floor, turning a statement of need into shared truth. Originated as a 1967 single by Gladys Knight & the Pips.

A5. “Just Losing You” (2:33) — William “Mickey” Stevenson; produced by Stevenson. A slow plea for reconciliation rendered in descending phrasing. The lyric’s quiet desperation emerges through repetition, while the arrangement’s sparse instrumentation leaves space for resignation to settle.

A6. “Give Her Up” (2:46) — Robinson; produced by Robinson. Adapted from Martha & the Vandellas’ “Give Him Up,” the lyric warns against self-deception in love. Tarplin’s guitar punctuations lend the rhythm a sharp cadence as Robinson’s tone moves from counsel toward release. Originated as “Give Him Up” on Martha & the Vandellas’ 1963 album Come and Get These Memories.

B1. “I Heard It Through the Grapevine” (3:00) — Whitfield, Barrett Strong; produced by Whitfield. The Miracles’ first recording of the song, performed at a brisker tempo than later versions. Robinson’s delivery emphasizes disbelief over anguish, the interplay between vocal phrases and string accents mirroring rumor’s momentum. First released in 1967 by Gladys Knight & the Pips, though first recorded in 1966 by The Miracles. Marvin Gaye’s 1968 version became his signature song.

B2. “Yesterday” (2:34) — John Lennon, Paul McCartney; produced by Robinson. Stripped of orchestral accompaniment, the song becomes an inward soliloquy. Robinson’s phrasing tempers regret with restraint, reframing McCartney’s lament as a study in quiet endurance.

B3. “Your Mother’s Only Daughter” (2:44) — Robinson, Cleveland; produced by Robinson. The narrator appeals to empathy, addressing a partner’s guardedness shaped by upbringing. The lyric’s domestic imagery contrasts with its moral reach, balancing tenderness with admonition.

B4. “Much Better Off” (2:51) — Robinson, Warren “Pete” Moore; produced by Robinson. A self-consoling monologue cast in graceful motion. The lyric’s claim of emotional recovery carries an undercurrent of unresolved attachment, while the orchestral arrangement expands and contracts around the lead’s measured ascent.

B5. “You Only Build Me Up to Tear Me Down” (2:32) — Robinson; produced by Robinson. Closing the album, the song outlines a cycle of affection and betrayal. Short, percussive phrases reinforce the lyric’s pattern of hope and collapse, ending the sequence with composure rather than catharsis.

Sessions occurred at Hitsville USA in Detroit with Smokey Robinson producing most tracks and Norman Whitfield handling production on “Everybody Needs Love” and “I Heard It Through the Grapevine.” The Funk Brothers provide instrumentation throughout with Tarplin on guitar.

Tamla promoted Special Occasion with “If You Can Want” (b/w “When the Words from Your Heart Get Caught Up in Your Throat”), released on February 8, 1968; it reached No. 3 on the Billboard R&B chart and No. 11 on the Hot 100. “Yester Love” (b/w “Much Better Off”) followed on May 13, reaching No. 9 R&B and No. 31 Pop. “Special Occasion” (b/w “Give Her Up”) appeared on July 30, reaching No. 4 R&B and No. 26 Pop.

Gerald Wilson and His Orchestra later covered “Yester Love,” and Jim Gilstrap recorded “Special Occasion.” “Much Better Off” became a frequently sampled track in later decades, notably by J Dilla.

Time Out for Smokey Robinson & The Miracles

Smokey Robinson & the Miracles released their eleventh album, Time Out for…, on July 10, 1969, on Tamla.

The album combines new Robinson-penned material with select covers of Motown and pop hits, marking one of the group’s most commercially visible late-’60s releases. It features four singles that reached the Billboard Top 40, including the Top 10 hit “Baby, Baby Don’t Cry.”

Robinson wrote or co-wrote seven songs on Time Out for…. Guitarist Marv Tarplin co-wrote multiple tracks, including “Doggone Right” and “You Neglect Me.” They cover songs by The Temptations (“My Girl”), Dion (“Abraham, Martin and John”), Stevie Wonder (“For Once in My Life”), Glen Campbell (“Wichita Lineman”), and The Supremes (“The Composer”).

“Baby, Baby Don’t Cry” opens with Robinson’s spoken recitation and extended bridge, layering restrained guitar patterns over swelling harmonies. “Doggone Right” places Pete Moore’s bass vocal responses against Robinson’s lead. Their version of “For Once in My Life” heightens the pace with precise rhythmic shifts, contrasting the slow ballad versions by earlier artists. “Abraham, Martin and John” retains the elegiac tone of Dion’s original with measured phrasing and minimal ornamentation.

A1. “Doggone Right” (2:59) — written by Smokey Robinson, Marv Tarplin, and Al Cleveland
A2. “Baby, Baby Don’t Cry” (3:56) — written by Cleveland, Terry “Buzzy” Johnson, and Robinson
A3. “My Girl” (3:05) — originated as a 1964 single by The Temptations, written by Robinson and Ronald White, whose version topped the Billboard Hot 100
A4. “The Hurt Is Over” (2:57) — written by Robinson, Tarplin, and Cleveland
A5. “You Neglect Me” (2:51) — written by Robinson and Tarplin
A6. “Abraham, Martin & John” (3:02) — originated as a 1968 single by Dion, written by Dick Holler, whose version reached the U.S. Top 5

B1. “For Once in My Life” (2:48) — first recorded in 1965 by Connie Haines; Stevie Wonder’s 1968 uptempo version became a U.S. Top 3 hit
B2. “Once I Got to Know You (Couldn’t Help But Love You)” (2:54) — written by Johnson and Robinson
B3. “Wichita Lineman” (2:56) — originated as a 1968 single by Glen Campbell, written by Jimmy Webb, whose version reached the U.S. Top 5
B4. “The Composer” (2:53) — originated as a 1969 single by The Supremes, written by Robinson, whose version reached No. 27 on the Hot 100
B5. “Here I Go Again” (2:53) — written by Robinson, Johnson, Cleveland, and Moore
B6. “I’ll Take You Anyway That You Come” (2:49) — written by Robinson

Sessions occurred at Hitsville U.S.A. in Detroit with Smokey Robinson as producer. Pete Moore and Terry “Buzzy” Johnson co-produced “Baby, Baby Don’t Cry” and “Here I Go Again.” The Funk Brothers handled instrumentation.

Tamla promoted Time Out for… with four singles. “Baby, Baby Don’t Cry” (b/w “Your Mother’s Only Daughter”) appeared in December 1968 and reached No. 8 on the Billboard Hot 100 and No. 3 on the R&B chart. “Doggone Right” (b/w “Here I Go Again”) followed in May 1969, peaking at No. 32 on the Hot 100 and No. 7 R&B. “Here I Go Again” also charted, reaching No. 37 pop and No. 15 R&B. Their version of “Abraham, Martin and John” charted concurrently with Dion’s and other covers in 1969.

“My Girl” remains one of Motown’s most enduring standards, later covered by Otis Redding, Al Green, and Michael Jackson. “Wichita Lineman” has also been recorded by numerous artists across genres.

Four in Blue

Smokey Robinson & the Miracles released their twelfth album, Four in Blue, on November 3, 1969, on Tamla.

The album closes the group’s 1960s output with a mix of original material and soul reinterpretations of contemporary hits. It contains songs written by Smokey Robinson alongside selections by Holland–Dozier–Holland, Ashford & Simpson, and other Motown staff writers.

Robinson wrote three songs for Four in Blue. The set includes covers of songs by The Beatles (“Hey Jude”), The Supremes (“My World Is Empty Without You”), The Righteous Brothers (“You’ve Lost That Lovin’ Feelin’”), and The Messengers (“California Soul”).

“You’ve Lost That Lovin’ Feelin’,” originally produced in 1964 by Phil Spector, retains its dramatic build with Robinson’s lead over layered backing harmonies. “California Soul,” written by Nickolas Ashford and Valerie Simpson, sets a brisk rhythm beneath tight vocal exchanges. “My World Is Empty Without You” recasts The Supremes’ 1965 hit with a male ensemble delivery.

A1. “You Send Me (With Your Good Lovin’)” (3:20) — written by Al Cleveland, Terry “Buzzy” Johnson, and Smokey Robinson
A2. “Dreams Dreams” (2:51) — written by Robinson and Cleveland
A3. “Tomorrow Is Another Day” (2:45) — written by Deke Richards and Beatrice Verdi
A4. “Hey Jude” (4:08) — originated as a 1968 single by The Beatles, written by John Lennon and Paul McCartney, whose version topped charts worldwide
A5. “California Soul” (2:44) — originated as a 1967 single by The Messengers, written by Nickolas Ashford and Valerie Simpson and later covered by The 5th Dimension and Marvin Gaye & Tammi Terrell
A6. “A Legend in Its Own Time” (2:45) — written by Robinson

B1. “You’ve Lost That Lovin’ Feelin’” (3:42) — originated as a 1964 hit by The Righteous Brothers, written by Barry Mann, Phil Spector, and Cynthia Weil, whose version topped the U.S. and U.K. charts
B2. “We Can Make It We Can” (2:35) — written by Ashford and Simpson
B3. “When Nobody Cares” (2:43) — written by Robinson
B4. “Don’t Say You Love Me” (2:58) — written by Richard Morris
B5. “Wish I Knew” (2:43) — written by Debbie Dean and Richards
B6. “My World Is Empty Without You” (2:45) — originated as a 1965 single by The Supremes, written by Brian Holland, Lamont Dozier, and Eddie Holland, whose version reached the U.S. Top 5

Sessions occurred at Hitsville U.S.A. in Detroit with Smokey Robinson as producer and The Funk Brothers on instrumentation.

The cover of Four in Blue shows the Miracles (Bobby Rogers, Pete Moore, Smokey Robinson, Ronnie White) in matching blue silk tuxedos. Though not pictured, Claudette Robinson and guitarist Marv Tarplin appear on the album.

Tamla issued no singles from Four in Blue, yet the album peaked at No. 3 on the Billboard R&B chart and No. 78 on the Billboard 200.

“California Soul” later appeared in notable versions by The 5th Dimension (1968) and Marvin Gaye & Tammi Terrell (1970), and by Edwin Starr on War & Peace (1970). “You’ve Lost That Lovin’ Feelin’” has been widely covered since its original release.

What Love Has…Joined Together

Smokey Robinson & the Miracles released their thirteenth album, What Love Has…Joined Together, on April 28, 1970, on Tamla.

The album is a concept set of six love songs, performed as ballads and slow duets, marking the group’s first LP composed entirely of covers. Smokey Robinson produced the sessions with lush orchestral arrangements and prominent vocal layering by the group’s classic lineup.

Robinson wrote one song on the album with Bobby Rogers. The other five selections are covers of songs by Stevie Wonder (“My Cherie Amour”), Marvin Gaye (“If This World Were Mine”), Brenda Holloway (“You’ve Made Me So Very Happy”), Herb Alpert (“This Guy’s in Love With You”), and The Beatles (“And I Love Her”).

Robinson handles lead vocals, supported by Pete Moore, Bobby Rogers, Ronnie White, and Claudette Robinson. Guitarist Marv Tarplin performs throughout with The Funk Brothers providing rhythm and orchestral backing.

The title track, “What Love Has Joined Together,” originally recorded by the Miracles in 1962, frames the album with a slow declaration of unity in the face of outside resistance. “My Cherie Amour” closely follows Stevie Wonder’s 1969 hit arrangement with restrained instrumental backing and extended phrasing. “If This World Were Mine” magnifies the song’s romantic imagery with intensified vocal layering. Their reading of “You’ve Made Me So Very Happy” extends the original with long cadences, while “This Guy’s in Love With You” adapts Herb Alpert’s 1968 hit into a soft vocal ensemble setting. The closing “And I Love Her” pares the Beatles ballad down to Robinson’s lead over spare guitar and vocal harmonies.

A1. “What Love Has Joined Together” (5:50) — originated as a 1962 Miracles recording written by Smokey Robinson and Bobby Rogers; later recorded by Mary Wells and The Temptations. The lyrics speak of a couple’s defiance toward those who would keep them apart.
A2. “My Cherie Amour” (4:16) — originated as a 1969 single by Stevie Wonder, written by Wonder, Henry Cosby, and Sylvia Moy, whose version reached No. 4 on the Hot 100.
A3. “If This World Were Mine” (4:30) — originated as a 1967 Marvin Gaye and Tammi Terrell B-side, written by Gaye, whose version reached No. 27 on the R&B chart.

B1. “You’ve Made Me So Very Happy” (5:04) — originated as a 1967 single by Brenda Holloway, written by Holloway, Patrice Holloway, Berry Gordy, and Frank Wilson; also recorded in 1969 by Blood, Sweat & Tears, whose version reached No. 2 on the Hot 100.
B2. “This Guy’s in Love With You” (5:19) — originated as a 1968 single by Herb Alpert, written by Burt Bacharach and Hal David, whose version topped the Hot 100.
B3. “And I Love Her” (2:37) — originated as a 1964 Beatles single written by John Lennon and Paul McCartney, whose version reached No. 12 on the Hot 100.

Sessions occurred at Hitsville U.S.A. in Detroit with Smokey Robinson as producer and The Funk Brothers as instrumentalists.

What Love Has…Joined Together features a front cover portrait of Smokey Robinson, Bobby Rogers, Pete Moore, and Ronnie White, with a separate back cover image of Claudette Robinson.

Tamla issued no singles from What Love Has…Joined Together. The album peaked at No. 9 on Billboard’s R&B chart and No. 97 on the Billboard 200.

“What Love Has Joined Together” was subsequently recorded by The Temptations (1965) and Barbara McNair (1968) and later revived by Syreeta in the 1970s and Queen Latifah in the 2000s.

A Pocket Full of Miracles

Smokey Robinson & the Miracles released their fourteenth album, A Pocket Full of Miracles, on September 30, 1970, on Tamla.

The album blends romantic ballads with topical R&B numbers and updated covers of recent hits. It marks one of three albums the group released in 1970 and retains their classic vocal blend against full-band arrangements by Motown’s house players.

Smokey Robinson wrote or co-wrote six songs on the album. Nickolas Ashford and Valerie Simpson contributed “Who’s Gonna Take the Blame,” while the tracklist includes covers of Simon & Garfunkel (“Bridge Over Troubled Water”), The Beatles (“Something”), and The Temptations (“Get Ready”).

Robinson handles lead vocals with Claudette Robinson (soprano), Bobby Rogers (tenor), Ronnie White (baritone), and Pete Moore (bass). Guitarist Marv Tarplin appears throughout. The Funk Brothers supply the instrumental backing.

“Who’s Gonna Take the Blame” frames a dark narrative about a young woman forced into sex work, delivered over a restrained, minor-key arrangement. “Point It Out” opens with Tarplin’s guitar before Robinson delivers verses that express joy over a new relationship, with the group’s harmonies fully audible in the chorus. “Darling Dear,” issued as a B-side, carries a soft, clipped rhythmic pulse later revived in The Jackson Five’s 1970 cover. “Get Ready” reworks Robinson’s 1966 Temptations hit with a new arrangement modeled on Cream’s “Sunshine of Your Love.” Their rendition of “Bridge Over Troubled Water” stretches Paul Simon’s original into a slow vocal showcase.

A1. “Flower Girl” (3:00) — original song written by Smokey Robinson, Pete Moore, and Marv Tarplin.
A2. “Who’s Gonna Take the Blame” (3:36) — written by Nickolas Ashford and Valerie Simpson; its lyrics tell the story of a woman forced into prostitution.
A3. “Darling Dear” (2:38) — originated as a 1969 Miracles B-side written by Horgay Gordy, Robert Gordy, and Allen Story. The Jackson Five recorded a 1970 cover.
A4. “You’ve Got the Love I Need” (2:30) — original song written by Smokey Robinson and Robert Jones.
A5. “Get Ready” (2:45) — originated as a 1966 single by The Temptations, written by Smokey Robinson; also a 1970 Top 5 hit for Rare Earth. This version borrows its arrangement from Cream’s 1968 single “Sunshine of Your Love.”
A6. “Bridge Over Troubled Water” (4:13) — originated as a 1970 single by Simon & Garfunkel, written by Paul Simon, whose version topped the Hot 100.

B1. “Something / Something You Got” (4:18) — medley of George Harrison’s 1969 Beatles single “Something” and the Chuck Jackson & Maxine Brown duet “Something You Got,” written by Chris Kenner.
B2. “Point It Out” (3:03) — original single written by Robinson, Tarplin, and Al Cleveland; opens with Tarplin’s guitar and foregrounds the full group vocal blend.
B3. “Don’t Take It So Hard” (2:46) — written by Terry Johnson, Charles Johnson, and Willie Schofield.
B4. “Backfire” (2:52) — original song written by Robinson, Cleveland, and Johnny Bristol.
B5. “The Reel of Time” (2:50) — written by Janie Bradford and Jack Goga.
B6. “Wishful Thinking” (2:43) — written by Marv Johnson.

Sessions occurred at Hitsville U.S.A. in Detroit with Smokey Robinson as producer and Ashford & Simpson contributing production on “Who’s Gonna Take the Blame.”

Pocket Full of Miracles features a cover illustration of Robinson, Rogers, Moore, and White seated inside a large drawn pocket, referencing the album title.

Tamla promoted the album in late 1969 with “Point It Out” (b/w “Darling Dear”), which reached No. 4 on the Billboard R&B chart and No. 37 on the Hot 100. “Who’s Gonna Take the Blame” followed in April 1970 as a second single.

“Darling Dear” was covered in 1970 by The Jackson Five. “Point It Out” was later recorded by The Supremes and The Temptations.

The Season for Miracles

On November 23, 1970, Smokey Robinson & the Miracles released The Season for Miracles, a set of yuletide covers for the upcoming holiday season.

One Dozen Roses

Smokey Robinson & the Miracles released their sixteenth album, One Dozen Roses, on August 27, 1971, on Tamla.

The album combines contemporary soul production with a blend of up-tempo rhythm numbers, narrative spoken passages, and reflective ballads. It contains their last major hits with Robinson before his 1972 departure, including “I Don’t Blame You at All” and the chart-topping “The Tears of a Clown.” The core lineup consists of lead vocalist Smokey Robinson, guitarist Marv Tarplin, and backing vocalists Ronnie White, Bobby Rogers, Warren “Pete” Moore, and Claudette Robinson. Instrumentation is provided by the Funk Brothers.

Robinson wrote or co-wrote eight songs on the album. Guitarist Marv Tarplin collaborated with him on two titles. Four Tops bass singer Renaldo “Obie” Benson co-wrote “Oh Baby Baby I Love You,” and Paul Simon’s “Cecilia” appears as the lone outside cover. The set closes with Robinson’s earlier hit for The Marvelettes, “The Hunter Gets Captured by the Game.”

The album opens with “When Sundown Comes,” a slow-building ballad. “No Wonder Love’s a Wonder” incorporates spoken narration over layered vocal harmonies. “I Don’t Blame You at All” pairs upbeat rhythm with lyrics of romantic resignation. “Faces” has a subdued, slow-burning quality atypical for the group. The closing track reimagines “The Hunter Gets Captured by the Game” with swirling harmonies and tightened syncopation.

A1. “When Sundown Comes” (2:52)
A2. “No Wonder Love’s a Wonder” (3:34)
A3. “The Tears of a Clown” (2:59)
A4. “Satisfaction” (2:39)
A5. “Crazy About the La La La” (2:51)
A6. “Cecilia” (3:01) — originated as a 1970 single by Simon & Garfunkel, written by Paul Simon, about a fickle lover

B1. “I Don’t Blame You at All” (2:54)
B2. “That Girl” (2:59)
B3. “Faces” (3:20)
B4. “I Love You Dear” (2:48)
B5. “Oh Baby Baby I Love You” (3:14)
B6. “The Hunter Gets Captured by the Game” (2:59) — first recorded in 1966 by The Marvelettes, written by Robinson

Sessions occurred at Hitsville U.S.A. (Studio A) in Detroit with producers Smokey Robinson and Henry Cosby.

Tamla promoted One Dozen Roses with “I Don’t Blame You at All” (b/w “Oh Baby Baby I Love You”) in February 1971, which reached No. 7 on the Billboard R&B chart and No. 18 on the Hot 100. “Crazy About the La La La” followed in June and “Satisfaction” in October.

“I Don’t Blame You at All” was later covered by Rosetta Hightower.

Flying High Together

Smokey Robinson & the Miracles released their seventeenth album, Flying High Together, on July 27, 1972, on Tamla.

The album marks the group’s final studio recordings with original lead singer Smokey Robinson, who retired afterward to focus on his Motown executive duties. It blends contemporary soul arrangements with reworkings of recent hits by The Stylistics, Michael Jackson, and The Chi-Lites, as well as Motown originals. The Miracles’ lineup features lead vocals by Smokey Robinson, backing vocals by Claudette Robinson (soprano), Bobby Rogers (tenor), Ronnie White (baritone), and Pete Moore (bass), with guitar by Marv Tarplin and additional instrumentation by the Funk Brothers.

No tracks were composed by the Miracles themselves; Smokey produced two songs, “Got to Be There” and “Theme from Love Story.” Johnny Bristol co-wrote and produced multiple tracks, with contributions from Stevie Wonder and Syreeta Wright, Ashford & Simpson, Bobby Miller, and songwriters of the covers: Eugene Record (“Oh Girl”), Elliot Willensky (“Got to Be There”), Linda Creed & Thom Bell (“Betcha by Golly, Wow”), and Francis Lai & Carl Sigman (“Theme from Love Story”).

The album opens with “I Can’t Stand to See You Cry,” a contemplative ballad of relationship regret. “We’ve Come Too Far to End It Now” frames a couple’s reconciliation, with Robinson’s voice underscoring remorse and hope. Covers such as “Oh Girl” and “Betcha by Golly, Wow” maintain the original’s emotional weight while featuring subtly reshaped instrumental textures. “Got to Be There” showcases Tarplin’s guitar beneath Robinson’s reflective lead vocal.

A1. “I Can’t Stand to See You Cry” (3:18)
A2. “Theme from Love Story” (3:15) — music by Francis Lai, lyrics by Carl Sigman, from the 1970 film
A3. “We’ve Come Too Far to End It Now” (3:30)
A4. “Flying High Together” (3:02)
A5. “With Your Love Came” (3:24)
A6. “It Will Be Alright” (3:06) — composed by Stevie Wonder and Syreeta Wright

B1. “Oh Girl” (3:21) — originally a 1972 single by The Chi-Lites, written by Eugene Record, detailing a relationship on the verge of collapse
B2. “You Ain’t Livin’ till You’re Lovin’” (2:57) — written by Ashford & Simpson
B3. “We Had a Love So Strong” (3:12) — composed by Stevie Wonder and Syreeta Wright
B4. “Got to Be There” (3:05) — originally by Michael Jackson, written by Elliot Willensky
B5. “Betcha by Golly, Wow” (3:09) — originally a 1972 hit by The Stylistics, written by Linda Creed and Thom Bell

Sessions occurred at Hitsville U.S.A. (Studio A) in Detroit with producers Smokey Robinson and Johnny Bristol, and arrangements by H.B. Barnum, David Van De Pitte, and Eddie Nucilli.

Tamla promoted the album with “We’ve Come Too Far to End It Now” (b/w “When Sundown Comes”) in May 1972, which reached No. 9 on the Billboard R&B chart and No. 46 on the Hot 100. “I Can’t Stand to See You Cry” followed in November, peaking at No. 21 R&B and No. 45 Pop.

The album coincided with the Miracles’ final nationwide tour with Robinson. Several tracks, including “We’ve Come Too Far to End It Now,” appear on later Miracles compilations.

Renaissance

The Miracles released their eighteenth album, Renaissance, on April 18, 1973, on Tamla.

Renaissance introduces Billy Griffin as lead vocalist following Smokey Robinson’s retirement from the group, with Robinson serving as executive producer. The album balances uptempo tracks and ballads, drawing on compositions from Marvin Gaye, Willie Hutch, Leon Ware, Fonce Mizell, Freddie Perren, and Pam Sawyer. Griffin joins baritone Ronnie White, bass Pete Moore, and tenor Bobby Rogers, with guitar by Marv Tarplin and assorted Los Angeles studio musicians providing additional instrumentation.

Billy Griffin leads all tracks except where noted, sharing lead vocals with Ronnie White on “Wigs and Lashes” and “Don’t Let It End (‘Til You Let It Begin),” and contributing to ensemble leads on “Nowhere to Go.” Notable songwriting contributions include Marvin Gaye co-writing “I Love You Secretly,” Leon Ware co-writing “I Don’t Need No Reason,” and Freddie Perren and Christine Yarian co-writing “Don’t Let It End (‘Til You Let It Begin).”

The album opens with “What Is a Heart Good For,” a reflective song of emotional uncertainty, followed by “If You’re Ever in the Neighborhood,” where Griffin’s tender tenor conveys longing. “Wigs and Lashes” and “Don’t Let It End (‘Til You Let It Begin)” pair upbeat arrangements with layered vocal interplay, while “I Love You Secretly” channels Gaye’s intimate production style. Ballads such as “I Didn’t Realize the Show Was Over” and “I Don’t Need No Reason” underscore the album’s contemplative pace.

A1. “What Is a Heart Good For” (3:12) — written by Arthur Ross and Leon Ware
A2. “If You’re Ever in the Neighborhood” (2:58) — written by Don Fenceton, Jerry Marcellino, Mel Larson
A3. “I Wanna Be With You” (3:20) — written by Willie Hutch
A4. “Wigs and Lashes” (3:05) — written by Larry Mizell; lead vocals Billy Griffin, Ronnie White
A5. “Don’t Let It End (‘Til You Let It Begin)” (3:30) — written by Christine Yarian and Freddie Perren; lead vocals Billy Griffin, Ronnie White; spoken word segment Bobby Rogers

B1. “I Love You Secretly” (3:10) — written by Anna Gordy Gaye, Elgie Stover, Marvin Gaye
B2. “I Don’t Need No Reason” (3:05) — written by Leon Ware and Pam Sawyer
B3. “Nowhere to Go” (3:18) — written by Clay McMurray, Dennis Jackson, Gary Fears; lead vocals Billy Griffin, Pete Moore, Ronnie White, Bobby Rogers
B4. “I Didn’t Realize the Show Was Over” (3:22) — written by Richard Hutch and Willie Hutch

Sessions occurred at Los Angeles studios with Smokey Robinson as executive producer and assorted engineers.

Motown released “Don’t Let It End (‘Til You Let It Begin)” on June 7, 1973, which reached No. 26 on the R&B chart and No. 56 on the Hot 100. The intended single “What Is a Heart Good For” was performed on The Midnight Special and Soul Train but was withdrawn before commercial release.

Several tracks, including “I Don’t Need No Reason,” were later recorded by other Motown artists such as Junior Walker & the All-Stars.

Do It Baby

The Miracles released their nineteenth album, Do It Baby, on August 21, 1974, on Tamla.

Do It Baby solidifies Billy Griffin as the group’s lead vocalist following Smokey Robinson’s departure, pairing his high tenor with baritone Ronnie White, bass Pete Moore, and tenor Bobby Rogers. The album blends midtempo R&B with lush ballads and uptempo tracks, featuring compositions from Freddie Perren, Christine Yarian, Leon Ware, Willie Hutch, Clifton Davis, and Tony Hiller. Guitarist Donald Griffin replaced Marv Tarplin for studio sessions, while assorted Los Angeles studio musicians supplied additional instrumentation.

Billy Griffin co-wrote several tracks, including the hit title song, while Perren and Yarian co-wrote “Do It Baby,” “Up Again,” and “You Are Love.” Leon Ware wrote “Give Me Just Another Day” and “Calling Out Your Name.” Willie Hutch co-wrote “Can’t Get Ready for Losing You,” originally recorded by The Jackson Five. Clifton Davis contributed “We Feel the Same,” and Hiller, with Billy Day, John Goodison, and Mike Leslie, wrote “Where Are You Going to My Love,” a cover of the British group Brotherhood of Man’s 1973 recording.

The album opens with the sinuous, midtempo “Do It Baby,” a sexually suggestive track that showcases Griffin’s soaring tenor. “Give Me Just Another Day” explores a symphonic R&B style with shifting pace and layered vocal textures, while “I Can’t Get Ready for Losing You” drives forward with guitar-led propulsion. Ballads like “We Feel the Same” and “Calling Out Your Name” maintain a contemplative pace, and previously released “What Is a Heart Good For?” appears as a reprise, adding continuity from Renaissance.

A1. “Do It Baby” (3:28) — written by Freddie Perren and Christine Yarian; sexually suggestive midtempo track, Griffin leads with support from group harmonies
A2. “Up Again” (3:12) — written by Perren and Yarian; lighter, upbeat number with layered backing vocals
A3. “Where Are You Going to My Love” (3:14) — written by Billy Day, John Goodison, Tony Hiller, Mike Leslie; cover of Brotherhood of Man’s 1973 recording
A4. “What Is a Heart Good For?” (3:18) — written by Leon Ware and T-Boy Ross; reprise from Renaissance
A5. “You Are Love” (3:05) — written by Perren and Yarian; midtempo ballad with lush backing vocals

B1. “Give Me Just Another Day” (4:05) — written by Leon Ware; symphonic R&B number with dynamic shifts and layered vocal textures
B2. “We Feel the Same” (3:02) — written by Clifton Davis; contemplative ballad
B3. “Calling Out Your Name” (3:14) — written by Leon Ware; slow-paced, emotive arrangement
B4. “A Foolish Thing to Say” (2:58) — written by Jim Grady; reflective midtempo track
B5. “Can’t Get Ready for Losing You” (3:40) — written by Willie Hutch and Richard Hutch; guitar-driven, forward-moving number originally recorded by The Jackson Five

Sessions occurred at Los Angeles studios with production led by Freddie Perren and Leon Ware, supported by engineers for string and horn arrangements by David Blumberg, James Anthony Carmichael, Willie Hutch, Freddie Perren, Gene Page, Michael Omartian, and Jimmie Haskell.

Do It Baby features cover artwork by Frank Frezzo, depicting the four Miracles—Billy Griffin, Ronnie White, Pete Moore, and Bobby Rogers—performing the “Miracle” of parting a “Red Sea” of concertgoers.

Motown promoted Do It Baby with the single “Do It Baby” (b/w “I Wanna Be With You”), which reached No. 4 on the Billboard R&B chart and No. 13 on the Hot 100, selling over one million copies. “Give Me Just Another Day” (b/w unspecified) followed in November 1973, reaching No. 47 on the R&B chart and No. 111 on the Pop chart. “Where Are You Going to My Love” saw a UK-only single release.

Tracks from the album, particularly “Give Me Just Another Day,” later inspired covers and samples by hip-hop artists including Young Jeezy, Schoolboy Q, Marco Polo, Wade Waters, Christina Milian, and Rick Ross.

Don’t Cha Love It

The Miracles released their twentieth album, Don’t Cha Love It, in early 1975 on Tamla.

Don’t Cha Love It continues the group’s post-Smokey Robinson era with Billy Griffin on lead vocals, supported by Pete Moore (bass), Ronnie White (baritone), and Bobby Rogers (tenor). The album pairs midtempo and ballad-driven R&B with tightly arranged vocal harmonies, largely shaped by producer and arranger Freddie Perren alongside Christine Yarian’s lyrics. Additional arrangements feature Tom Sellers, Gene Page, Eddy Manson, and Richard Wyatt, Jr., with engineering by Angel Balestier, Val Garay, Art Stewart, and Jimmy Robinson.

Freddie Perren wrote or co-wrote most tracks, with Christine Yarian contributing lyrics throughout. Pam St. Cyr co-wrote “Gemini,” and Elmer Hopper co-wrote “Brokenhearted Girl – Brokenhearted Boy.” All songs were arranged either by Perren or session arrangers Page, Manson, Sellers, and Wyatt, Jr., who helped translate the material into orchestral textures and layered vocal passages.

The album opens with “Keep on Keepin’ On (Doin’ What You Do),” a midtempo R&B number emphasizing layered vocals and smooth instrumentation. “Sweet Sweet Lovin’” and “A Little Piece of Heaven” provide lush ballad settings, while the title track moves at a moderate pace with tightly contoured vocal lines. “Brokenhearted Girl – Brokenhearted Boy” and “You Are Love” highlight emotive passages and textural arrangements, offering the most notable moments on the record, though the album overall maintains a uniform, restrained pace.

A1. “Keep on Keepin’ On (Doin’ What You Do)” (3:37) — arranged by Tom Sellers and Richard Wyatt, Jr.; midtempo R&B with layered harmonies
A2. “Sweet Sweet Lovin’” (3:45) — arranged by Gene Page; lush ballad with orchestral touches
A3. “A Little Piece of Heaven” (4:25) — arranged by Gene Page; emotive ballad with layered instrumentation
A4. “Don’t Cha Love It” (3:20) — arranged and produced by Freddie Perren; moderate-paced title track
A5. “Got Me Goin’ (Again)” (3:47) — arranged by Eddy Manson; midtempo track with textured vocal support

B1. “Gemini” (3:05) — arranged by Tom Sellers; moderate R&B track co-written by Perren, Yarian, and Pam St. Cyr
B2. “Brokenhearted Girl – Brokenhearted Boy” (4:05) — arranged by Perren; slower ballad highlighting emotional interplay
B3. “Take It All” (3:40) — arranged and produced by Perren; midtempo number with harmonized vocals
B4. “Gonna Tell the World (Wedding Song)” (3:21) — arranged by Tom Sellers; lightly paced R&B ballad
B5. “You Are Love” (3:22) — arranged by Gene Page; slow ballad emphasizing layered vocal textures

Sessions occurred at Los Angeles studios under the direction of Freddie Perren with engineering by Angel Balestier, Val Garay, Art Stewart, and Jimmy Robinson.

Don’t Cha Love It features cover art directed by Katarina Petterson with illustration by Bob Gleason.

Motown promoted the album with no major hit singles documented from this release.

The album reached No. 7 on the Top R&B Albums chart and No. 96 on the Billboard 200. Tracks such as “Brokenhearted Girl – Brokenhearted Boy” and “You Are Love” are cited as the stronger moments, while the collection overall emphasizes restrained arrangements and midtempo pacing without standout charting singles.

City of Angels

The Miracles released their 21st album, City of Angels, on September 17, 1975, on Tamla.

City of Angels is a concept album charting a man’s pursuit of his estranged girlfriend, Charlotte, from Anytown, U.S.A. to Los Angeles. Billy Griffin leads on vocals, supported by Pete Moore (bass, co-composer, producer), Bobby Rogers (tenor), and Ronnie White (baritone). The album blends midtempo R&B, disco rhythms, and layered vocal harmonies.

All tracks were written by Billy Griffin and Pete Moore. Freddie Perren co-produced the album with Moore and contributed arrangements and instrumental layers.

The opening “Overture” sets the narrative tone, followed by “City of Angels,” “Free Press,” and the socially pointed “Ain’t Nobody Straight in L.A.” “Night Life” slows the pace with reflective textures, while the second half builds toward the seven-minute disco anthem “Love Machine,” which dominates the album with punchy four-four rhythms, layered vocals, and brassy disco textures. “My Name Is Michael” and “Poor Charlotte” continue the story, and “Waldo Roderick DeHammersmith” and “Smog” close with character-driven, narrative-focused tracks, maintaining the Los Angeles backdrop and urban storytelling throughout.

A1. “Overture” (3:10) — sets narrative theme; co-written by Griffin and Moore
A2. “City of Angels” (4:50) — midtempo R&B, advances story of pursuit in L.A.
A3. “Free Press” (3:15) — reflective track, highlights layered vocals
A4. “Ain’t Nobody Straight in L.A.” (3:48) — addresses homosexuality, socially pointed lyrics
A5. “Night Life” (4:27) — slower, introspective pacing

B1. “Love Machine” (6:52) — disco-driven centerpiece; lyrics compare a lover to an electronic device; features growling vocal by Bobby Rogers and “yeah, baby” refrains by Ronnie White
B2. “My Name is Michael” (3:00) — disco-influenced, character vignette
B3. “Poor Charlotte” (6:05) — extended narrative ballad
B4. “Waldo Roderick DeHammersmith” (3:06) — narrative character piece
B5. “Smog” (5:16) — closes story, evokes L.A. urban environment

City of Angels features instrumentation by Freddie Perren (synthesizers ARP and string ensemble, vibraphone), Donald Griffin (guitar), Greg Poree (guitar), Jay Graydon (guitar), John Barnes (keyboards, synthesizer), Ed Greene and James Gadson (drums), Scott Edwards (bass), Eddie “Bongo” Brown (congas, bongos), Paulinho da Costa (percussion), and Victor Feldman (vibraphone). Background vocals feature Carolyn Willis and Julia Tillman.

Sessions occurred at Crystal Sound Recorders, Los Angeles, with producers Freddie Perren and Pete Moore and engineering by Angel Balestier, Val Garay, Art Stewart, and Jimmy Robinson.

The album cover depicts The Miracles’ star on the Hollywood Walk of Fame, illustrated as a conceptual reference rather than a real star at the time.

Tamla promoted City of Angels with the release of “Love Machine (Part 1)” on September 19, 1975, which reached No. 1 on the Billboard Hot 100, No. 5 on the Hot Black Singles chart, and No. 3 in the UK Singles Chart. “Night Life” followed as a single on April 15, 1976. “Love Machine” became the group’s biggest-selling single, earning multi-platinum status, and is one of Motown’s most commercially utilized songs, generating significant publishing revenue.

City of Angels peaked at No. 33 on the Billboard 200 and No. 29 on the R&B Albums chart, and achieved Platinum certification for over one million units sold. Its narrative-driven, disco-infused R&B tracks capture mid-1970s Los Angeles as a period piece, blending urban storytelling with high-energy rhythms and layered vocal arrangements.

The Power of Music

The Miracles released their 22nd album, The Power of Music, on September 14, 1976, on Tamla.

The Power of Music was the group’s final Motown studio album and features Billy Griffin and Donald Griffin on lead vocals and guitars, supported by Pete Moore (vocals, production), Bobby Rogers (tenor vocals), and Ronnie White (baritone vocals). The album blends soul, midtempo R&B, and funk-inflected rhythms, with keyboards, synthesizers, and layered percussion shaping its sound.

All eight tracks were written by Billy Griffin and Pete Moore, who co-produced most of the album with John Barnes. Billy and Donald Griffin contributed co-production on several tracks.

Musically, the album opens with the title track, “The Power of Music,” a midtempo piece emphasizing rhythm and layered vocals. “Love to Make Love” and “Can I Pretend” offer intimate, slow-paced reflections, while “Let the Children Play (Overture)” and its full version combine choral textures with horn and string arrangements, giving the album a thematic arc. “Gossip” adds funk-tinged pacing, “The Street of Love” slows the rhythm, and “You Need a Miracle” closes the album with a contemplative, extended ballad.

A1. “The Power of Music” (5:39) — title track, rhythm-driven with layered vocals
A2. “Love to Make Love” (4:59) — slow-paced, intimate R&B
A3. “Can I Pretend” (5:29) — reflective ballad
A4. “Let the Children Play (Overture)” (3:55) — instrumental/choral prelude with horns and strings

B1. “Gossip” (6:20) — funk-inflected rhythm, socially observant lyrics
B2. “Let the Children Play” (4:13) — full thematic version of overture, lyrical focus
B3. “The Street of Love” (3:00) — slower, narrative-driven piece
B4. “You Need a Miracle” (6:16) — contemplative closing track with layered instrumentation

Additional personnel include Jack Ashford (percussion), John Barnes (keyboards, synthesizer, rhythm section arrangement, co-producer, horn and string arrangements), Eddie “Bongo” Brown (bongos, congas), Ollie E. Brown (drums, timbales), James Gadson (drums, timbales), Scott Edwards and Willie Weeks (bass guitars), Jimmy Johnson (gong), and backing vocals by Lenni Groves, Julia Tillman, and Maxine Willard.

Sessions occurred at Motown studios with producers Pete Moore, Billy Griffin, and Donald Griffin, co-production and arrangements by John Barnes and Wade Marcus, and engineering/mixing by Kevin Beamish.

The album reached No. 35 on Billboard’s Top Soul LPs chart and No. 178 on the Top LPs & Tape chart. Tracks such as “Let the Children Play,” “Love to Make Love,” and “You Need a Miracle” later appeared on the 2002 Polygram International CD Essential Collection.

Love Crazy

The Miracles released their 23rd album, Love Crazy, in February 1977 on Columbia.

Love Crazy marks the group’s first album after leaving Motown, with Billy Griffin on lead vocals and his brother Donald Griffin on lead guitar. Pete Moore, Bobby Rogers, and Ronnie White round out the vocal section. The album blends R&B, midtempo soul, and funk-inflected arrangements, with keyboards, synthesizers, percussion, and layered backing vocals providing depth.

All songs were written by Billy Griffin and Pete Moore, with Donald Griffin co-writing “Women (Make the World Go ‘Round)” and “I Can Touch the Sky.” Pete Moore handled production and vocal arrangements, Griffin provided vocal arrangements, John Barnes arranged rhythm, strings, and horns, and The Whizz Kids served as co-producers.

Musically, the album opens with the multi-part title track, combining an introduction, overture, and full version that sets a dramatic, narrative tone. “Too Young” and “A Better Way to Live” emphasize midtempo R&B with layered vocals, while “Spy for Brotherhood” delivers a James Bond–inspired rhythm with minor funk accents. “Women (Make the World Go ‘Round)” and “I Can Touch the Sky” feature co-written contributions from Donald Griffin, adding guitar-driven contours. “The Bird Must Fly Away” closes side two with reflective pacing.

A1. “Love Crazy Introduction” (1:17) — prelude to title track, sets narrative tone
A2. “Love Crazy / Love Crazy Overture” (5:35) — multi-part composition, layered vocals and strings
A3. “Too Young” (6:43) — midtempo R&B, tenor saxophone accents, reflective lyrics
A4. “Spy for Brotherhood” (6:04) — James Bond–inspired rhythm, narrative lyrics about espionage

B1. “A Better Way to Live” (5:31) — midtempo, layered vocals
B2. “Women (Make the World Go ‘Round)” (4:47) — co-written with Donald Griffin, guitar-driven, lyrical reflection on female influence
B3. “The Bird Must Fly Away” (4:30) — reflective, narrative-driven
B4. “I Can Touch the Sky” (3:33) — co-written with Donald Griffin, contemplative closure

Additional musicians include Julia Tillman, Maxine Willard, and Myrna Matthews (backing vocals), Willie Weeks (bass), James Gadson (drums), Eddie “Bongo” Brown (bongos, congas), Jack Ashford (percussion), John Barnes (keyboards, synthesizer, rhythm and horn/strings arrangements), Jackie Kelso (tenor saxophone on “Too Young”), and Buell Neidlinger (contrabass on “Too Young”).

Sessions occurred at Crystal Sound Studios in Hollywood, California, with production by Pete Moore, co-production by The Whizz Kids, and arrangements by John Barnes and Wade Marcus. Kevin Beamish engineered and mixed, with mastering by Jeff Sanders.

Columbia promoted the album with the single “Spy for Brotherhood” (b/w “The Bird Must Fly Away”) in 1976, followed by “Women (Make the World Go ‘Round)” (b/w “I Can Touch the Sky”) in 1977.

Love Crazy reached No. 117 on the Billboard 200 and No. 31 on the Top R&B/Hip-Hop Albums chart.

The Miracles (1978)

The Miracles released their self-titled 24th and final album in 1978 on Tamla.

Discography:

Hi! We’re The Miracles (1961)
Cookin’ With The Miracles (1961)
I’ll Try Something New (1962)
The Fabulous Miracles (1963)
Christmas With The Miracles (1963)
The Miracles Doin’ Mickey’s Monkey (1963)
I Like It Like That (1965)
Going to a Go-Go (1965 • Smokey Robinson and The Miracles)
Away We a Go-Go (1966 • Smokey Robinson & The Miracles)
Make It Happen (1967 • Smokey Robinson & The Miracles)
Special Occasion (1968 • Smokey Robinson and The Miracles)
Time Out for Smokey Robinson and The Miracles (1969 • Smokey Robinson and The Miracles)
Four in Blue (1969 • Smokey Robinson and The Miracles)
What Love Has Joined Together (1970 • Smokey Robinson & The Miracles)
A Pocket Full of Miracles (1970 • Smokey Robinson & The Miracles)
The Season for Miracles (1970 • Smokey Robinson & The Miracles)
One Dozen Roses (1971 • Smokey Robinson & The Miracles)
Flying High Together (1972 • Smokey Robinson and The Miracles)
Renaissance (1973)
Do It Baby (1974)
Don’t Cha Love It (1975)
City of Angels (1975)
The Power of Music (1976)
Love Crazy (1977)
The Miracles (1978)