"Oh No, Not My Baby" was one of the mid-1960s compositions by Gerry Goffin and Carole King that showed their songwriting maturing from the more teen- and girl group-oriented hits of the early 1960s into something more adult and soulful. It was a relatively modest hit for Maxine Brown, making #24, but proved to be pretty resilient, continuing to make its mark via several prominent cover versions. On the Brown single, the first of the melodic hooks at which the songwriting team were so gifted appears in the brief instrumental intro, which highlights a gently rolling soul-rock piano riff. The melody of "Oh No, Not My Baby" is supremely yearning, a good bed for the lyric of a woman who retains faith in her man even in the face of rumors flying about his infidelity. The biggest hook of the song, however, is the way Brown moan-sings the catchy title in the chorus. In the best New York uptown soul arrangement tradition, the song glides into jubilant string section vamping for a brief instrumental break. The big lyrical hook/surprise of the song, however, is that it turns out that the guy was indeed cheating on the singer with a last-minute fling. Brown takes the infidelity with surprising grace, however, particularly considering that in its aftermath, their commitment to their own true love is reaffirmed with a wedding ring. The song's merits were quickly recognized by Manfred Mann, who took a far more upbeat and rock-oriented arrangement of the tune to #11 in the UK in mid-1965. Manfred Mann's version wasn't a mere copy; aside from the fact that it was far more happy-go-lucky, in the chorus, singer Paul Jones lingered on a phrase not found in the Brown version ("not my girl") while vibes tinkered in the background. Dusty Springfield put a much more faithful cover of Brown's original on her 1965 album Ev'rything's Coming Up Dusty, and according to Paul Howes's book The Complete Dusty Springfield, Springfield said at the time "that she didn't like the Manfred Mann version but thought Maxine Brown's was beautiful. In fact, she wanted to do it as a single." Aretha Franklin, Fontella Bass, and Linda Ronstadt are among others who've recorded the song, though its biggest post-1960s success came to Rod Stewart, who had a #6 hit with it in the UK in 1973.