"Two Lovers" was Mary Wells' biggest hit besides "My Guy," as the third of a trio of 1962 Top Ten hits that also included "The One Who Really Loves You" and "You Beat Me to the Punch." In its early days (and to a degree in its later days), Motown would stick with a formula for a few singles after the first success of a certain sound, and "Two Lovers" certainly bore some similarities to the approach that had landed her earlier hits: the light, tasteful, jazz-influenced backing (in contrast to the brashest earliest Motown smashes), and a suave mid-tempo ambience. "Two Lovers" had, though, a killer, immediately memorable chorus, in which Wells' smoky vocals were multi-tracked (or so it sounded) to add depth. The verses weren't as hooky as the chorus, but the later parts of those had some fine call-and-response interaction between Wells and just-post-doo wop male backup singers. The slyest aspects of the tune, though, were the lyrics, which at first hearing seemed to be quite risqué for 1962: a woman with two lovers who not only wasn't ashamed of it, but seemed to be boasting about it, albeit in a dignified fashion. The punchline of the record didn't come until the final verse, when Wells revealed -- after a slight pause in the instrumentation -- that the two lovers were in fact two aspects of one and the same guy. If you were harsh you might view this as a cop-out, but without the cop-out the song wouldn't have gotten played, and we would have been deprived of one of Motown's better early-'60s singles.