Just another really solid Motown cut. By now, Motown could afford to be blasé about such things. (7)
It should be better known, but then that would still be true if this had sold six million copies; it’s a great, great record.
In keeping with the overall theme so far of Motown’s most spectacular winter, this is yet another established Motown artist subtly raising their game to a whole new level; if, this time, it’s more about the anticipation of what it means for future records than the one we’re listening to right now, this is still awfully nice. (7)
The return to both the heavier beats and the heavier themes of the earlier Vandellas’ best material is a welcome one; this is a record at once ominous and impressively demanding of your attention, neatly illustrating not only where they’ve come from but also where they’re headed. Especially their superstar of a lead singer. (9)
I find it hard to put into words just what it is she does, but she does it here better than ever before. (9)
Even though this is maybe a slower burn than Put Yourself In My Place, it ultimately gives a brighter light; the work that’s gone into this is staggering, and the results get better with every listen. (8)
What we have here is a calling card for a fine new group, in many ways the first “new” Motown signing of the mid-to-late Sixties, the first Motown group born as a “Motown” group. It sounds great, and it’s also a really good record, even if there’s better to come. (7)
Is it a good record? Yes, absolutely it is – the song is solid, the hooks are catchy, the production is appealing, the lead vocal is okay, the whole package is nice indeed. Would I swap Frank Wilson’s superb upcoming writing and production work behind the scenes for the chance to hear ten or twelve more of these? Not on your life. And apparently, neither would he. (7)
Your happiness is guaranteed. (10)
This is a cartoon relationship, a pick-me-up for lovers everywhere to keep the faith after the relentless emotional pummelling of the A-side, a riposte where for these three minutes, nothing can ever, will ever go wrong, and on with the kissing. Tomorrow can wait.
The music is designed and deployed to devastating effect, the vocal is as good as anything we’ve heard from Diana so far, the whole package is quite startling: this is the saddest-sounding outrageous pop stomper I’ve ever heard, and it’s a masterpiece. (10)