"Heat Wave" is a 1963 song written by the Holland–Dozier–Holland songwriting team. It was first made popular by the Motown vocal group Martha and the Vandellas. Released as a 45 rpm single on July 9, 1963, on the Motown subsidiary Gordy label, it hit number one on the Billboard Hot R&B chart—where it stayed for four weeks—and peaking at number 4 on the Billboard Hot 100. It was recorded 12 years later by rock vocalist Linda Ronstadt on her Platinum-selling 1975 album Prisoner in Disguise. Ronstadt's version of the song was released as a single in September 1975, reaching number 5 in Billboard, 4 in Cash Box, and 6 in Record World. In 2010, British musician Phil Collins spent a single week (number 28) on the Billboard Adult Contemporary listing with his retooling of the song. Martha and the Vandellas version Background "Heat Wave" was one of many songs written and produced by the Holland–Dozier–Holland songwriting and producing team. It was the second hit collaboration between Martha and the Vandellas and the team, with the first being "Come and Get These Memories". The lyrics of "Heat Wave" feature the song's narrator singing about a guy who has her heart "burning with desire" and "going insane" over the feeling of his love, and asking, "is this the way love's supposed to be?" Cash Box described it as a "danceable rock-a-twister" that could return the group to the Top 20. The song is often referred to as "(Love Is Like a) Heat Wave", but the title on the label of the original 1963 single was just "Heat Wave". Produced and composed with a gospel backbeat, jazz overtones and, doo-wop call and responsive vocals, "Heat Wave" was one of the first songs to exemplify the style of music later termed as the "Motown Sound". The single was a breakthrough hit, peaking at number 4 on the Billboard Hot 100, and at number 1 on the Billboard R&B Singles Chart. It also garnered the group's only Grammy Award nomination for Best Rhythm and Blues Recording for 1964, making the Vandellas the first Motown group ever to receive a Grammy Award nomination. Some versions of the song have a radio edit that cuts out the repetition of the ending of the instrumental portion of the song, which is in one key, featuring the repeated saxophone and piano portion. In a version issued on the compilation