Undeniably well-made as a genre piece, and it holds its own well enough against some of Motown’s other MOR-style crooner cuts from more established names; but it’s not to my taste, and as we won’t be hearing from Dorsey again here on Motown Junkies until we get to 1975, it’s a bit of a strange note upon which to be parting. (4)
Starts out great, but I like it less and less the more it goes on; it’s a measure of the excellent first minute or so of this single that it still ends up being far and away Dorsey Burnette’s best Motown cut. (6)
A rather nice little record on its own merits, neat and tidy, skilfully avoiding the dangers of sentimental treacle through sensitive handling, I think I’d probably have been kinder to this if I didn’t know the backstory. But there are some things you can’t un-learn. (4)
Not awful, but certainly not one to savour; if, given the circumstances, it’s understandably forgettable, it’s also advisedly forgettable. (3)
A fun and lively tune, and worth a couple of listens, but there’s too much fundamentally wrong with it to really love it the way I thought I would when it first started up. (4)
It’s a good, solid tune, eminently whistleable, and Dorsey’s having plenty of fun with it; I don’t really understand it and I can’t see myself going back to listen to it again all that often, but it’s far from terrible. (4)
Not a masterpiece by any means, but it’s sweet and funny, and it took a certain amount of balls on Motown’s part to release it at all, so it’s okay by me. (5)
The verses are schlocky and twee, and the whole thing lacks bite – but Burnette is palpably enjoying himself a great deal, and his avuncular enthusiasm is infectious enough to paper over some of the giant, yawning cracks in this song. (4)
