Marvin’s life story was a fascinating patchwork of weird, unbelievable things; here, his musical story treads the same odd pathways, and the results are a strange, groovy trip, but a trip which still compels you to get up and dance. I love it. (9)
It’s not great – it’s weird and it’s been poorly thought out, and what’s more it’s badly dated, as well as musically derivative of a much better song Marvin had already recorded. Still, even if it says very little about the Marvin Gaye we’ve come to know here in 1965, you can’t really accuse it of being dull, and that’s worth a couple of marks in itself. (5)
Not for the first time, Marvin Gaye sounds every inch the pop superstar, and once again here he’s made an excellent pop record. The difference, now, is that he’s making excellent records that sound like Marvin Gaye records, and everyone else is hereby put on notice. (8)
The overall effect is to remind me of the Supremes’ similarly beautiful, similarly half-realised Standing At The Crossroads Of Love: when it’s lovely, it’s lovely enough to matter. (6)
While this isn’t Marvin’s best Motown side so far – it’s bizarre, and it’s miserable, it’s probably my favourite. It’s raw, it’s honest, it’s painful, it’s beautiful, it’s everything I want when I go to Marvin’s later albums. Quite some going. (9)
Never in a million years is this a single, and a greater contrast to the A-side you’d be hard-pushed to find, but it’s effortlessly beautiful all the same. (7)
I love Marvin Gaye. Love him. As you’ll see later, he’s probably my favourite Motown artist. But this – this beautifully-formed little pop record – is wrong, and I’d be lying to myself – and undoing the entire purpose of this blog – if I didn’t call him and Smokey out for it. (5)
The painful truth is that while Marvin Gaye may have been Motown’s greatest and most fascinating solo star, his MOR output is that of a keen hobbyist indulging himself at the listener’s expense, and on this evidence, I’m not sad we won’t be covering any more of it. (2)
A lifeless, rote rendition of a song that wasn’t all that great in the first place, and its very existence underlines the fact Marvin Gaye still wasn’t quite the finished article. (2)
The song itself hasn’t got worse, it’s still superb, and this is still a fine record. But yet again, I’m left wondering what I might have made of a Motown recording if I’d heard this version first, because as things stand, as lovely as Marvin sounds here, I’d go for the Marvelettes’ version every single time. (7)
It’s not terrible, and unlike the last Four Tops single, I can see how this could be someone’s favourite Marvin Gaye song. But, honestly, this feels like an artefact from some other, cheesier version of the Motown story, and I can’t open up and love it. (5)
