I’m not really surprised that this wasn’t the big hit to revive the Vandellas’ commercial fortunes – it’s just not that kind of a song, greatly enjoyable though it is – but that doesn’t mean it’s not both a fascinating listen and a super dancer.
Still not a great song by any means, but this is just about the best version of it that exists, and that counts for something. (6)
Not as good as Heat Wave, then, but – surprisingly – on balance a better, more vibrant and more exciting record than Quicksand.
Oddly unsatisfying when compared to Eddie Holland’s original version; Martha turns in a very fine vocal performance, but arguably for entirely the wrong song, while the rest of it just doesn’t hang together properly at all. (5)
This just isn’t as good a record as Heat Wave; it’s a perfectly adequate sequel, and a fun little Vandellas single in its own right, but they’d come down from a whole other plane in order to make it. (7)
A neat little jewel in its way, oddly affecting and eminently likeable, a snapshot of a group who knew they were good but didn’t yet know they were famous. (7)
A remarkable record, and one of the best singles Motown ever released. (10)
A record that’s no more than “okay” at best – but Holland-Dozier-Holland’s creations couldn’t always be winners, and luckily the A-side was brilliant enough that no-one would be dwelling on the flip anyway. (4)
If 1962 had belonged to the Marvelettes, then 1963 would belong to Martha and the Vandellas; this single marked them out not only as worthy recipients of the Marvelettes’ baton as Motown’s number one group, but one of the best new pop groups in the world, full stop.
This is easily as good a record as the A-side. (6)
Hardly life-changing, but as a single it’s highly enjoyable; as a time capsule from some alternate universe where Martha Reeves never became a star, it’s nothing short of fascinating. (6)
Motown Junkies 