At 53, The Miracles - (Come Round Here) I’m the One You Need" (1966)
Unlike most Miracles songs, which were written and produced by the group themselves, “I’m the One You Need” was written and produced by Motown’s main songwriting and production team Holland–Dozier–Holland, best known for their work with The Supremes and The Four Tops. The single was a Top 20 Pop Hit, peaking at number 17 on the Billboard Hot 100.
Not one I remember but one I do like … 
I like that one too.
Even if you are not that keen these old singles don’t go on too long anyway.
At 52, Diana Ross & The Supremes - Baby Love (1964)
“Baby Love” was written and produced by Motown’s main production team Holland–Dozier–Holland. Florence Ballard and Mary Wilson had brief solo ad-libs towards the end of the song but after this release Ross would be the only member to have any solos on the 1960s singles.
“Baby Love” topped the Billboard pop singles chart and the United Kingdom pop singles chart concurrently. Beginning with “Baby Love”, The Supremes became the first Motown act to have more than one American number-one single, and by the end of the decade, would have more number-one singles than any other Motown act (or American pop music group) with 12, a record they continue to hold.
Indeed - there were no 12"-ers in those days … 
At 51, (I’m a) Road Runner 1966
“(I’m a) Road Runner” was the title track of the successful 1966 album Road Runner. Written by the team of Holland–Dozier–Holland, it was released on the Tamla (Motown) label in 1966 and reached the top twenty in the U.S. and the UK.
Walker plays the distinctive tenor saxophone solo, backed by Mike Terry on baritone saxophone with Willie Woods on guitar. During production of the record, it was discovered that Walker could play the song only in two keys. So Walker sang in a key that he couldn’t play, and after being recorded, the saxophone track was sped up to match.
One of those '60’s all-night dancing club favourites … :cool2:
Listening to who is a fool Nice one thx I may learn that one
At 50, Martha And The Vandellas - Nowhere to Run (1965)
“Nowhere to Run” by Martha and the Vandellas is one of the group’s signature songs. Holland-Dozier-Holland and the Funk Brothers band gave the song a large, hard-driving instrumentation sound similar to the sound of “Dancing in the Street” with snow chains used as percussion alongside the tambourine and drums.
One of my faves … 
At 49, The Jackson 5 - ABC (1970)
“ABC” was released on February 24 and knocked The Beatles’ “Let It Be” off the top of the Billboard Hot 100. Michael Jackson just belts it out - natural, effortless, and untrained - gifted.
At 48, Mary Wells - My Guy (1964)
“My Guy” was written and produced by Smokey Robinson of The Miracles. When Wells recorded her vocal she sang over the song’s outro with a huskiness evoking the line delivery of Mae West: Wells would recall: “I was only joking but the producers said ‘Keep it going, keep it going’.”
“My Guy” became the biggest hit ever for Wells, Motown’s first female star, and reached the top of the Billboard Hot 100 pop singles chart on 16 May. “My Guy” was Wells’ last hit single for Motown, except for duets she recorded with label mate Marvin Gaye. An option in her recording contract let Wells terminate the contract at her discretion after she reached her twenty-first birthday on May 13, 1964. Encouraged by her ex-husband, Wells broke her Motown contract and signed with 20th Century Fox in hopes of higher royalties and possible movie roles. However, Wells’ career never again reached the heights it had at Motown, and she never again had a hit single as big as “My Guy”.
Almost perfection … :cool2:
At 47, The Four Tops - I Can’t Help Myself (Sugar Pie, Honey Bunch) (1965)
“I Can’t Help Myself” is one of the most well-known Motown recordings of the 1960s and among the decade’s biggest hits. It was the Four Tops’ first Top 40 single in the UK, peaking at 23 in the summer of 1965, then reaching 10 on its spring 1970 re-release.
The melodic and chordal progressions are very similar to the Supremes’ 1964 hit “Where Did Our Love Go,” also written by Holland-Dozier-Holland. According to Allmusic critic Ed Hogan, the title “I Can’t Help Myself” is an oblique acknowledgment by Lamont Dozier that he could not resist recycling his previous hit.
Classic TM …
At 46, Marvin Gaye - Baby Don’t You Do It
“Baby Don’t You Do It” was originally written and intended for the Supremes, but eventually reassigned to Marvin Gaye to record.
The song was subsequently performed/recorded by The Who, The Band, The Small Faces, Nicolette Larson and Humble Pie but I don’t recall the original or the later versions … 
At 45, The Temptations - Ball Of Confusion (That’s What the World Is Today) (1970)
“Ball of Confusion (That’s What the World Is Today)” was d written by Norman Whitfield and Barrett Strong. The song was used to anchor the 1970 Greatest Hits II LP. It reached #3 on the US pop charts and #2 on the US R&B charts. It reached #7 in the UK Singles Chart.
“Ball of Confusion” plays an important part in the career of Tina Turner - if only indirectly. Her recording of the track was included on 1982 album Music of Quality and Distinction Volume One, a tribute by the British Electric Foundation featuring members of the new wave band Heaven 17, Love and Rockets and a number of guest vocalists covering 1960s and 1970s hits, among them Sandie Shaw, Paul Jones, Billy Mackenzie, Paula Yates and Gary Glitter.
Turner’s synth-driven interpretation of “Ball of Confusion” opened the album, was also issued as a single, and became a Top 5 hit in Norway; this led to Capitol Records signing Turner and to Martyn Ware and Ian Craig Marsh recording another 1970s cover with her in late 1983. The track was Al Green’s “Let’s Stay Together”, which became a surprise hit single on both sides of the Atlantic and the starting point of Turner’s comeback, with the following 1984 album Private Dancer going multi-platinum in 1984.
Serendipity … :cool2:
The Temps is the best though.Gary Glitter?Are we allowed to say that?
In an appropriate context, yes … 
At 44, Stevie Wonder - Signed, Sealed, Delivered (I’m Yours) (1970)
“Signed, Sealed, Delivered I’m Yours” spent six weeks at number one on the U.S. R&B chart and peaked at number three on the U.S. Pop chart.
The song was a series of firsts for the 20-year-old Wonder: “Signed, Sealed, Delivered I’m Yours” was the first single Wonder produced on his own, and was also the first to feature his female backup singing group composed of Lynda Tucker Laurence (who went on to become a member of The Supremes), Syreeta Wright (who also co-wrote the song), and Venetta Fields. The song also gave Wonder his sixth Grammy nomination, with the award that year going to the Clarence Carter song “Patches”.
A great single from Stevie …
At 43, The Four Tops - Baby I Need Your Loving (1964)
“Baby I Need Your Loving” was the group’s first Motown single and their first pop Top 20 hit, making it to number eleven on the Billboard Hot 100 in the fall of 1964. It was also their first million-selling hit single.
What you might say is “a good start” …
At 42, The Temptations - Cloud Nine (1968)
“Cloud Nine” was the first of The Temptations singles to feature Dennis Edwards instead of David Ruffin in the lineup, was the first of producer Norman Whitfield’s psychedelic soul tracks, and won Motown its first Grammy Award.
“Cloud Nine” was a marked departure from the standard Temptations sound: wah-wah guitars and a harder, driving beat propelled the record, as opposed to pianos and strings. The song also features the Cuban percussionist Mongo Santamaria on conga drums.
“Psychedelic soul”, man … :cool2:
Are they the best selling male group?
The Four Tops are 3rd on this list:
behind the Jacksons and the Temptations but in front of Smokey Robinson/the Miracles and the Isleys but I’d guess that all but the Jacksons would be beaten by more modern “boy bands” in an inclusive “male” comparison …
At 41, Martha & The Vandellas - Come And Get These Memories (1963)
“Come and Get These Memories” was Martha & The Vandellas’ second single released under Motown’s Gordy Records subsidiary. It became the group’s first hit single, reaching number 29 on the Billboard Pop Singles Chart, and number-six on the Billboard R&B Singles Chart.
“Memories” is also notable as the first hit recording written and produced by the songwriting/production team of Holland-Dozier-Holland, who would become the top creative team at Motown by the end of 1965. The single was the first of several hits the Vandellas scored with the team, before Holland-Dozier-Holland began to focus more heavily on hits for The Supremes and the Four Tops. However, Holland–Dozier–Holland would continue to collaborate with the Vandellas until the songwriting team’s departure from Motown in 1967.
