The Miracles had quickly emerged as one of Motown’s front runners, providing the label with its first million-copy selling single and releasing its first album. Their debut, Hi We’re The Miracles, showcased Smokey Robinson’s considerable vocal talents, but it was a typically confused early Motown effort, inconsistent in style and quality. A few months later, they released a follow-up LP, Cookin’ With The Miracles, an improvement on their debut, comprising mainly of upbeat R&B tunes. However, like its predecessor, it struggled to gain any commercial traction.
Despite their lack of success over a whole album, the Miracles released a slew of successful singles between 1960 and 1962. Singles such as ‘Ain’t It Baby’ and ‘What’s So Good About Goodbye’ received moderate chart success, if not reaching the dizzying heights of some of their later releases. But Smokey’s appetite for writing wasn’t satisfied by the Miracles, and before the Holland-Dozier-Holland hitmaking machine was established, he was seemingly penning tunes for half the label. Robinson notably wrote Mary Wells‘s brilliant ‘The One Who Really Loves You’ in late 1961, which reached #8 in the pop charts. Smokey was also assigned to the Supremes, who had earnt themselves the unwanted moniker of the No-Hit Supremes. There were murmurs Smokey’s prolific songwriting was detrimental to the Miracles, as he cemented himself as a vital pillar in the label.
Smokey’s output didn’t stop the group from recording their third album in 1962; I’ll Try Something New. Once again, the album struggled to make any dent in the charts, but it’s a criminally underrated effort and definitely one of Motown’s finest early releases. The second half of the record comprises primarily of some excellent takes of songs from the Great American Songbook; early Motown albums could often be accused of featuring lifeless cover versions, but the group provided the songs with new life. The album benefitted from an expansion in sound and stronger songwriting, while its production is excellent, especially compared to Motown’s other efforts at the time. While Smokey’s voice is central to the album, it showcased the whole group’s dexterity, with brilliantly executed harmonies throughout.
The broader sound is reflected in the album’s title track, which benefits from its lush orchestration, with Gordy and Robinson creating an almost oriental sound. The track has a lovely, languid rhythm, Smokey’s voice feather-light. It’s arguably the most sophisticated single Motown had released at the time. ‘What’s So Good About Goodbye’ is another highlight, featuring some splendid guitar licks from Marv Tarplin. Again, the track benefits from the sweeping string sections, while Smokey beautifully harnesses the song’s mournful energy. The Claudette-led ‘He Don’t Care About Me’ is a bouncier number driven by the gentle chimes of the piano and the clacking percussion. Claudette’s voice is wonderfully tender, while the harmonies are razor sharp.
‘A Love That Can Never Be’ features a rare lead for Ronnie White, with Smokey’s voice hidden amongst the harmonies. It’s more of a doo-wop number, perhaps lacking the power Smokey might have wrung from it. ‘I’ve Been Good To You’ sees Smokey retake the reigns; it’s a slow, melancholic ballad that inspired the Beatles’ ‘Sexy Sadie’, with Lennon paraphrasing the song’s opening lyrics. ‘Speak Low’ is a Kurt Weill cover; it’s probably one of the record’s weaker moments, the harmonies are tight, but some of the instrumentation feels a little ragged. The group head to Broadway on the next track, covering ‘On The Street Where You Live’ from My Fair Lady. It’s a playful, energetic version, capturing the swinging energy of the original and adding some excellent, layered harmonies. The instrumentation is much sharper, with the track opening with some punchy horns that grab your attention.
‘If Your Mother Only Knew’ is a Smokey and Mickey Stevenson penned number. It’s a melodic, relaxing affair, once again featuring some lush orchestration while demonstrating Smokey’s impressive vocal range. Hazy and romantic, it’s another track that is elevated by its gorgeous vocal harmonies. ‘I’ve Got You Under My Skin’ sees them delve back into the Great American Songbook, taking on the Cole Porter. Again, the harmonies are excellent, and Smokey gives the track a real vibrancy. The album concludes with the gentle, swooning ‘This I Promise, I Swear’, another example of Smokey’s ability to capture a song’s emotional energy.
I’ll Try Something New represents an early high point in Motown’s history, its commercial performance more reflective of the label’s perceived status as hitmakers. It has greater consistency than other albums Motown released at the time, with the more sophisticated production a step in the right direction. It also further cemented Smokey Robinson’s talent as a vocalist and songwriter, able to shift from silky smooth to mournful anguish. The imaginative covers are well executed but perhaps didn’t cater to Motown’s younger audience. Album success continued to elude the Miracles in the following years, but I’ll Try Something New should be seen as more than just a footnote in Motown’s distinguished history.