Billy Gordon, Billy Hoggs, Joe Billingslea and Billy Rollins founded a singing group called The Blenders in their native Detroit, Michigan in 1959. The group soon added Leroy Fair (in place of Billy Rollins), bass singer Hubert Johnson, and guitarist Huey Davis, and auditioned for Berry Gordy's Motown Records. Gordy turned the act down, prompting Johnson to call his cousin, R&B star and Gordy associate Jackie Wilson. Wilson in turn got The Contours a second audition with Gordy, at which they sang the same songs they had at the first audition, the same way, and were signed to the company.
The group's first singles, "Whole Lotta Woman" and "The Stretch", were unsuccessful, and the group was in danger of being let go. Also at this time, Leroy Fair was replaced with Sylvester Potts. In early 1962, Gordy had the Contours record "Do You Love Me", a composition originally meant for The Temptations. The resulting record, with its shouted lead vocals from Billy Gordon, became a number-two hit 1962.
In 1964, Billy Hoggs, Joe Billingslea, Hubert Johnson, and Sylvester Potts all quit the group. Berry Gordy hired Council Gay, Jerry Green and Alvin English to back Billy Gordon, making the Contours a quartet. Within a year, Sylvester Potts returned to the group (replacing Alvin English), but Billy Gordon departed at about the same time. Gordon was replaced by Joe Stubbs, brother of Four Tops lead singer Levi Stubbs. Stubbs soon quit the act and was replaced by Dennis Edwards.
During the mid-1960s, The Contours recorded several records which received R&B radio play (notably "First I Look At The Purse" and "Just a Little Misunderstanding"), but were considered secondary to Motown's major male vocal groups: The Temptations, the Four Tops, and The Miracles. The group's contract with Motown expired in 1967, and the Contours disbanded. Lead singer Dennis Edwards was recruited to replace the departed David Ruffin as lead singer of The Temptations. Edwards later became a solo hitsmaker as well.
After the group's demise, Joe Billingslea has reformed the Contours several times. Billingslea first resurrected the group in 1971, with himself, Council Gay, Arthur Hinson, Martin Upshire and C. Autry Hatcher as its members. By 1987, the lineup included Billingslea, Hinson, Darell Nunlee, Charles Davis, and Motown-era Contour Sylvester Potts. The same year, "Do You Love Me" was prominently featured in the film Dirty Dancing, which led to a revival of both the recording and the Contours touring career.
The Contours were inducted into the Rock and Roll Hall of Fame in 1989. The group is today a quartet led by Joe Billingslea, with fellow members Al Chisholm, Charles Davis, and Gary Grier. Former member Hubert Johnson committed suicide on July 11, 1981, and Huey Davis died February 23, 2000. Sylvester Potts died in January 2017.
Move Mr. Man
The Contours Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Bom-bom-bom boom
Bom bom-bom bom-bom
(Whoa shooby dooby dooby whoa)
Hey, uh uh-huh, uh, come on (Ahh)
(Whoa shooby dooby dooby whoa)
Whoo (Ahh)
(Whoa shooby dooby dooby whoa)
(Ahh oh ooh)
Baby, baby, one more chance
(Whoa shooby dooby dooby whoa)
(Ahh)
Well, if you'd just given me a one more chance
I'd be a happy, a happy man
But every time I get next to you
You said move Mr. man 'cause you don't know
What to do
Oh yeah, because I given you all of my pain
That's why I love you more each day
But every time I get next to you
You said move Mr. man 'cause you don't
What to do
Hey
(Pay no attention to the other guy, ooh)
Hey, well now I love you baby and I don't know why
(I love you baby and I don't know why, ohh ooh)
Hey, You better take another look
There's something in your eye, hey, hey, yeah
You called me the other night
Thinkin' that everything was really alright
But every time I get next to you
You said move Mr. man 'cause you don't know
What to do
Hey
(Pay no attention to the other guy, ooh)
Mmm, poor little girl, I love you baby and I don't know why
(I love you baby and I don't know why, ohh ooh)
Hey, You better take another look
There's something in your eye, hey, hey, yeah
You called me the other night
Thinkin' that everything was really alright
But every time I get next to you
You said move Mr. man 'cause you don't know
What to do
Ooh
(Whoa shooby dooby dooby whoa)
(Ahh)
Hey, uh come on
(Whoa shooby dooby dooby whoa)
(Ahh)
Mmmm, I said a-baby
(Whoa shooby dooby dooby whoa)
(Ahh)
Babe-a-baby-baby-babe
The Contours' song "Move Mr. Man" is a classic example of a man pleading for a second chance with the woman he loves. Throughout the song, he asks for just one more chance, but the woman keeps telling him to move on. In the first verse, he voices his frustration, saying that he has given her his all and yet she still won't give him a chance. In the chorus, he repeats his plea for one more chance, but the woman is unmoved. She keeps telling him to move on.
In the second verse, the man continues to express his love for the woman, but she is still not willing to give him a second chance. He tells her to take another look at him and see the love in his eyes, but she doesn't seem to be affected. In the bridge of the song, he talks about how she called him thinking everything was alright, but as soon as he gets near her, she tells him to move on once again. The song ends with him once again pleading for one more chance, but the woman is still unmoved.
Overall, the song is a classic example of a man just begging for a second chance with the woman he loves. He has given her his all, but she is still not willing to give him another chance. The song is a classic example of Motown's signature sound and displays the group's incredible vocal abilities.
Line by Line Meaning
Bom bom bom
The lead-in to the song, creating anticipation and attention.
Bom-bom-bom boom
Further intensifying the build-up of the song.
Bom bom-bom bom-bom
Continuing the rhythm and beat, setting the tone for the song.
(Whoa shooby dooby dooby whoa)
Vocals used to fill in the gap between the instrumental section and lyrics.
Hey, uh uh-huh, uh, come on (Ahh)
Invitation to join in on the song, setting the scene and encouraging participation.
(Whoa shooby dooby dooby whoa)
Repeating the vocals to continue the beat and rhythm of the song.
Whoo (Ahh)
Spontaneous exclamation to maintain the enthusiasm and energy level of the song.
(Whoa shooby dooby dooby whoa)
Continuing the repetition of the vocals to keep the momentum going.
Baby, baby, just one more chance
Addressing someone special, perhaps a lover, and asking for a second chance with them.
(Ahh oh ooh)
Vocals to emphasize the plea for another opportunity to make things right.
Baby, baby, one more chance
Repeating the plea for a second chance, showing the importance and urgency of the request.
(Whoa shooby dooby dooby whoa)
Vocals used to emphasize the emotions and feelings of the singer.
(Ahh)
Short vocal interlude to break up the repetition and add a musical flare.
Well, if you'd just given me a one more chance
Continuing the plea for a second chance, showing how important it is to the singer.
I'd be a happy, a happy man
Stating how a second chance would bring joy and fulfillment to the singer.
But every time I get next to you
Acknowledging a problem or obstacle in the relationship with the person being addressed.
You said move Mr. man 'cause you don't know
Revealing that the person being addressed has doubts or reservations about continuing the relationship.
What to do
Clarifying the reason why the person being addressed is hesitant about giving the singer another chance.
Oh yeah, because I given you all of my pain
Explaining how the singer has invested a lot into the relationship and has experienced hurt because of it.
That's why I love you more each day
Expressing a genuine affection and care for the person being addressed, in spite of the challenges faced in the relationship.
But every time I get next to you
Continuing the acknowledgement of a problem or obstacle in the relationship.
You said move Mr. man 'cause you don't
Repeating the reason why the person being addressed is hesitant about giving the singer another chance.
What to do
Reaffirming the doubts or reservations of the person being addressed.
Hey
Short vocal interlude to transition into the next section of the song.
(Pay no attention to the other guy, ooh)
A warning to the person being addressed to ignore any potential competition or distractions from others.
Hey, well now I love you baby and I don't know why
Reiterating the affection and care the singer has for the person being addressed, even though it is inexplicable.
(I love you baby and I don't know why, ohh ooh)
Vocals used to emphasize the genuine expression of love from the singer.
Hey, You better take another look
A suggestion for the person being addressed to reconsider their feelings and the value of the relationship.
There's something in your eye, hey, hey, yeah
Metaphorically suggesting that the person being addressed may be overlooking the sincerity and value of the singer's affection.
You called me the other night
Referencing a recent conversation or interaction with the person being addressed.
Thinkin' that everything was really alright
Suggesting that the person being addressed may have had a change of heart about the relationship.
But every time I get next to you
Returning to the acknowledgement of a problem or obstacle in the relationship.
You said move Mr. man 'cause you don't know
Repeating the reason why the person being addressed is hesitant about giving the singer another chance.
What to do
Confirming the doubts or reservations of the person being addressed.
Mmm, poor little girl, I love you baby and I don't know why
Reaffirming the singer's genuine love and care for the person being addressed, despite the challenges they face in the relationship.
(I love you baby and I don't know why, ohh ooh)
Repeating the heartfelt vocals to emphasize the genuineness of the singer's feelings.
Hey, You better take another look
A suggestion for the person being addressed to reconsider their feelings and the value of the relationship.
There's something in your eye, hey, hey, yeah
Metaphorically suggesting that the person being addressed may be overlooking the sincerity and value of the singer's affection.
Ooh
Vocals used to add a touch of drama and emotion to the end of the song.
(Whoa shooby dooby dooby whoa)
Repeating the vocals to continue the beat and rhythm of the song.
(Ahh)
Short vocal interlude to break up the repetition and add a musical flare.
Hey, uh come on
Encouraging further participation and energy from the listener.
(Whoa shooby dooby dooby whoa)
Continuing the repetition of the vocals to keep the momentum going.
(Ahh)
Short vocal interlude to add a burst of energy to the end of the song.
Mmmm, I said a-baby
Playful vocals used to express a sentiment of affection towards the person being addressed.
(Whoa shooby dooby dooby whoa)
Repeating the vocals to bring the song to a close with the same energy and vitality as the beginning.
(Ahh)
Final vocal interlude to finish the song with a burst of excitement and enthusiasm.
Babe-a-baby-baby-babe
A fun and lively way to conclude the song, leaving a lasting impression on the listener.
Lyrics © Sony/ATV Music Publishing LLC, Warner Chappell Music, Inc.
Written by: BERRY JR GORDY, BERRY GORDY JR, REBECCA NICHOLS, BERRY JR GORDY
Lyrics Licensed & Provided by LyricFind
caribman10
One of those rare times when there should have been what was called a "two-sided hit"!
Wymell
You exactly right
Wymell Williams
No I said JoJo Billingsley both he and Billy Gordon were friends of our family
Wymell Williams
This said Manatee became a police officer and have you talked to Billy Behind Bars
Wymell Williams
Billy has such a great voice Motel just could not handle him
paul ross
Awesome 👍
Fruice Lee
Tune
Wymell
I know a little bit about Motown