672. Chris Clark: “Don’t Be Too Long”
Not only do I like this less and less each time I play it, in fact, the more I listen, the less it seems to have anything to do with the A-side at all. So much for bright new débuts. (3)
Category Archives: Writing credit: Berry Gordy
671. Chris Clark: “Do Right Baby Do Right”
Whatever the behind-the-scenes shenanigans, there’s no doubt in my mind that Gordy also felt he had a real talent on his hands. And he was right. (9)
630. The Lewis Sisters: “Moonlight On The Beach”
A strange, echoey Fifties barcarolle, somewhere between the Flamingos and Debussy. It sure is pretty; no masterpiece, to be sure, and nothing at all to do with Motown in the summer of 1965, but when we hit the middle eight, all faults are forgiven, and your heart could melt. (6)
629. The Lewis Sisters: “You Need Me”
Weird charm can only take you so far, and this isn’t great – it’s a mess, really, and probably an unsalvageable one at that – but it’s not completely horrific, and I keep finding myself strangely drawn to play it again. (4)
627. Brenda Holloway: “You Can Cry On My Shoulder”
Quite astonishing on every level, this is the standard by which every other all-or-nothing romantic epic should henceforth be judged. Magnificent. (10)
625. Little Lisa: “Hang On Bill”
It’s a pity that there were no more singles, that we don’t get to track her development into a mature artist here on Motown Junkies; this isn’t great, it’s silly and annoying, but there’s enough here to suggest this might have been an interesting story to watch. (3)
586. Marv Johnson: “Why Do You Want To Let Me Go”
Intriguing to have him back, and there are certainly better records to come from Marv’s Motown return, but this one is a chaotic, messy shambles which really isn’t Johnson’s song. (3)
582. The Vows: “Buttered Popcorn”
It’s still both stupid and annoying, and without the Supremes connection, I’m not sure anyone would pay this any attention at all. (3)
507. Carolyn Crawford: “When Someone’s Good To You”
This is pleasant enough, and it’s nicely done, but it isn’t really the farewell Carolyn’s Motown career deserved. (5)
491. The Headliners: “Tonight’s The Night”
Not completely terrible, it has its redeeming features, but if I find I’m impatiently waiting for a record to finish, then it’s not done it for me, I’m afraid. (3)
483. Earl Van Dyke: “Hot ‘n’ Tot”
It serves no real purpose other than to let three prominent Brothers do their thing for posterity, it doesn’t really go anywhere, and it’s great fun as opposed to just great – but there are moments that set the pulse racing, and you don’t really want it to end. Not as quickly as it does, anyway.(7)
