and "I Want to Be with You". Mercury recordings In 1965, Warwick signed with Mercury Records, where she recorded with producer Ed Townsend for their subsidiary Blue Rock label, reaching the R&B Top 30 with "We're Doing Fine". It was on the Mercury label in 1966, that she had her biggest hit with "I Want to Be with You" from the Broadway show Golden Boy, a number 9 R&B hit, which just missed the pop Top 40 at number 41 (Nancy Wilson had reached number 54 with her version entitled "I Wanna Be with You" in 1964). The follow-up single was the original version of "I'm Gonna Make You Love Me" which, peaking at number 13 R&B and number 88 Pop, was not Warwick's biggest hit, but became her best known number by virtue of its later success as a duet between Diana Ross and The Supremes and The Temptations. Warwick was regarded as one of the first openly lesbian performers within the music industry. Atco recordings Warwick continued to record for Mercury through the late 1960s. Although her occasional success in the R&B field—notably the 1969 Ed Townsend production of Foolish Fool—was enough for the label to wish to re-sign her in 1970, she signed with Atco at the invitation of Atlantic Records president Jerry Wexler himself, Wexler having admired Warwick's early session work. Warwick made her first recordings for Atco in February 1970, cutting four tunes with Townsend. In an early indication of the disarray that Warwick's career experienced at Atlantic, these tracks were shelved and she was sent to Criteria Studios in Miami in April to work with producer Dave Crawford and fast-emerging studio band, The Dixie Flyers. The resultant Turning Around album yielded a Top Ten R&B hit with "She Didn't Know", but Warwick never had another album release or single in the R&B Top 20. In October, she cut 10 tracks at Muscle Shoals, again with Crawford producing (along with Brad Shapiro). Only three singles were released with one, a remake of "Suspicious Minds", becoming Warwick's penultimate R&B hit in 1971. That summer, Crawford and Shapiro produced an eight-track session for Warwick at Pac-Three studios in Detroit. One track, "Everybody's Got to Believe in Something", was issued as a single - Warwick's last release on Atco despite two final sessions for the label in early 1972. Reflecting on her unrewarding Atco tenure, Warwick opined: "The