The Contours - Classic Motown

About the Song

“Do You Love Me” is a classic soul song written by Berry Gordy Jr. and recorded by The Contours in 1962. It became a number-one hit on the Billboard Hot 100 chart and has been covered by many famous artists.

The song is a heartfelt plea from a man to the woman he loves. The lyrics are simple but profound, expressing the desire to be loved and the fear of rejection.

“Do You Love Me” has some notable features:

  • Upbeat tempo: The fast and strong tempo with driving beat creates excitement and engagement in the song.
  • Vocals: Billy Gordon’s powerful and soulful vocals successfully conveyed the message of the song.
  • Chorus: The simple yet catchy chorus “Do you love me? Do you love me? Tell me now” has become a classic line in music.

“Do You Love Me” is a song that has had a major impact on American music. It is considered one of the greatest soul songs of all time and has been used in many movies and TV shows.

Here is some additional information about the song:

  • Year of release: 1962
  • Genre: Soul
  • Composer: Berry Gordy Jr.
  • Recorded by: The Contours
  • Charting: #1 Billboard Hot 100
  • Album: Do You Love Me (1962)

“Do You Love Me” is a timeless song that has stood the test of time. It brings the listener excitement, elation, and sincere emotions about love.

In addition, the song also has some famous cover versions performed by artists such as:

  • The Beatles
  • The Rolling Stones
  • Otis Redding
  • Stevie Wonder

Each version brings its own unique touch to the song, but all of them capture the vibrant energy and lasting influence of “Do You Love Me”.MOTOWN MONDAYS! SPOTLIGHTS ON THE CONTOURS – Motor City Radio Flashbacks

Video

Lyrics: Do You Love Me

You broke my heart
‘Cause I couldn’t dance
You didn’t even want me around
And now I’m back to let you know
I can really shake ’em down

Do you love me? (I can really move)
Do you love me? (I’m in the groove)
Now do you love me (do you love me?)
Now that I can dance? (dance)

Watch me now (work, work)
Oh, work it out, baby (work, work)
Well, you’re drivin’ me crazy (work, work)
With a little bit of soul now (work)

I can mash potato (I can mash potato)
And do the twist (I can do the twist)
Now tell me, baby (tell me, baby)
Do you like it like this? (do you like it like this?)
Tell me (tell me)
Tell me

Do you love me? (do you love me?)
Now do you love me? (do you love me?)
Now do you love me (do you love me?)
Now that I can dance? (dance)
Dance

Watch me now (work, work)
Oh, shake it up, shake it (work, work)
Oh, shake ’em, shake ’em down (work, work)
Oh, little bit of soul now (work)

(Work, work)
Oh, shake it, shake it, baby (work, work)
Oh, you’re driving me crazy (work, work)
Oh, don’t get lazy (work)

I can mash potato (I can mash potato)
Do the twist (I can do the twist)
Well, now tell me, baby (tell me, baby)
Do you like it like this? (do you like it like this?)
Tell me (tell me)
Tell me

Oh, do you love me? (do you love me?)
Now do you love me? (do you love me?)
Now do you love me? (do you love me?)
(Now, now, now)

(Hey! work, work)
Oh, work it out, baby (work, work)
Well, you’re driving me crazy (work, work)
Oh, don’t you get lazy (work)

(Work, work)
Oh, hey, baby (work, work)
Well, you’re driving me crazy (work, work)

You Missed

HE WAS 70, STRUGGLING TO STAND, AND THE INDUSTRY HAD ALREADY WRITTEN HIM OFF — UNTIL HE COVERED A TRACK BY A ROCK STAR HALF HIS AGE AND BROKE THE WORLD’S HEART. By 2002, Johnny Cash was a man surviving on memories. He had outlived most of his peers. His record label of nearly three decades had abandoned him. His health was a wreckage of diabetes, pneumonia, and failing nerves. There were moments in the recording booth when his producer, Rick Rubin, could hear the literal sound of a voice breaking. Then Rubin presented him with a raw, industrial rock song about the depths of depression and self-harm. Cash made one simple change — replacing a profane lyric with “crown of thorns” — and transformed a young man’s angst into his own final testament. The music video was shot inside his shuttered museum in Nashville, a place crumbling under the weight of dust and silence. June Carter was there, looking at him with an expression of profound, tragic realization. She would be gone in three months. He would follow her just four months later. When the original songwriter finally saw the footage alone one morning, he broke down. He later admitted that the song no longer belonged to him. The video went on to win a Grammy and was hailed by critics as the greatest music video ever filmed. It has been streamed hundreds of millions of times since. But its true power isn’t in the numbers or the awards. It continues to haunt us two decades later because it is the sound of a man who has stopped running from the end — a man who sat down in the fading light and finally told the absolute truth.

NO ONE KNEW WHY TOBY KEITH KEPT VISITING THE OK KIDS KORRAL EVERY WEEK DURING HIS FINAL 2 YEARS — EVEN AS HIS OWN CANCER WAS TAKING OVER… UNTIL A NURSE FINALLY TOLD THE TRUTH In 2006, Toby Keith launched a foundation for children battling cancer, inspired by the loss of his lead guitarist’s 2-year-old daughter to a tumor in 2003. By 2014, he turned that vision into reality, opening the OK Kids Korral in Oklahoma City—a sanctuary where families of pediatric patients could stay for free. Then, in 2021, the world stopped when Toby was diagnosed with stomach cancer. Yet, instead of retreating into his own pain, Toby began appearing at the Korral every week. He wasn’t there to sign autographs or put on a show. He would simply stand in the quiet hallways, watching the children go about their days. Outsiders assumed he was inspecting the building. The staff figured he was there to lift spirits. But following Toby’s passing in February 2024, a veteran nurse finally shared what really happened. She had asked him why he pushed himself to come when he was so exhausted. Toby leaned heavily against the wall and whispered: “These kids showed me how to be a warrior long before I ever had to fight for my own life. I’m just here to pay my respects—while time still allows.” The world believed Toby Keith built the Korral to rescue those children. In reality, it was those children who were quietly holding him together at the end. What remained a secret until his very last visit—just 11 days before he slipped away—was how Toby stopped in front of a single name on the memorial wall: the little girl whose story began it all two decades earlier. He stood there in total silence, longer than anyone had ever seen him stay in one place.