The song isn’t good, the performances aren’t good, and whatever had been magical about Do You Love Me, it’s missing here; this is just a stupid dance record, and not even a fun one at that. 3
Not awful, by any means, but the image of the Contours conjured for new listeners by Do You Love Me is slightly dispelled here. (4)
A good example of an inspired match between performer and material; the Contours’ performance makes a thin song into a super record, while Berry Gordy’s song briefly makes a bunch of tone-deaf dancers into a star recording group. (8)
Quite possibly the worst Motown record of all time. A bad, bad, bad, bad, bad, bad, bad record. […click title to read more]
While it’s not quite as striking as their début, The Stretch is another opportunity to enjoy the young Contours having a great time to a stomping beat, which is always a good combination. (6)
Driven along by a steady, rollicking drumbeat and some great understated sax work, this is an accomplished and assured early number which strangely feels much shorter than its actual length of more than two and a half minutes. (6)
A riveting, pounding number, featuring gutsy sax, barrelling piano and a tambourine being smashed to within an inch of its life, while (especially on the original version) Billy Gordon’s superb, screamed lead vocal could strip paint from the walls.