Delicate and charming, whilst at the same time being sappy and unspectacular; it does at least sound like Marvin Gaye, the Marvin Gaye we know and love, and that’s worth something. (5)
It’s good, but it’s a case of a few great bits balancing out a few awful bits, rather than the whole thing being the enjoyably lightweight romp it apparently thinks it is. (5)
Considerably less traumatising than the horrific A-side Mr Sandman, this is probably the most commercial thing Marvin Gaye had yet recorded. (5)
While Marvin doesn’t sound quite as bored as he did on the A-side, he’s still only giving this about fifty per cent, tops. The song really calls for a forceful, full-on delivery to mask its pilfering and lack of lyrical content, but he sounds most un-Gayelike: flat, perfunctory, almost limp; going through the motions.
It’s actually a strong song which might have made a respectable showing as a single, rather than being tucked away on the flip side of a flop as turned out to be the case. (7)