684. The Elgins: “Darling Baby”
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)
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683. The Elgins: “Put Yourself In My Place”
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)
682. Frank Wilson: “Sweeter As The Days Go By”
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)
681. Frank Wilson: “Do I Love You (Indeed I Do)”
Your happiness is guaranteed. (10)
680. The Supremes: “Everything Is Good About You”
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.
679. The Supremes: “My World Is Empty Without You”
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)
678. Jr. Walker & the All Stars: “Baby You Know You Ain’t Right”
The ingredients all seem to be here for a raucous good-time All Stars jam, but the end result is oddly uninspiring.
677. Jr. Walker & the All Stars: “Cleo’s Mood”
Berry Gordy was vindicated again, the record both gaining plenty of new fans, and selling well; people bought it and people played it, and I find that heartening. Certainly I like this a lot more than I might once have expected to. (8)
676. Tony Martin: “Spanish Rose”
…total, irredeemable garbage, the absolute worst of all Martin’s six sides for Motown, and a fitting note to end one of the most improbable careers in Motown history, as incongruous as anything from Irene Ryan, Albert Finney or the Abbey Tavern Singers. (1)
675. Tony Martin: “Ask Any Man”
Just about Tony Martin’s best single for Motown. Which really isn’t saying very much. (2)
674. The Miracles: “Choosey Beggar”
A success all round, then, leaving aside the nagging curiosity as to what might have happened with just a couple more days’ work: a fitting way to cap the best year so far in the Motown careers of both Smokey Robinson and the Miracles, now restored to their full powers. Roll on 1966. (8)
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