If you’ve ever wondered what the early Marvelettes might have sounded like without Gladys Horton’s lead vocals, wonder no more; she’s the difference between the two versions, and on this evidence, she belongs in the Hall of Fame. (2)
Much more dated and much less vital than the Jackie Wilson record it’s trying to copy; it’s not something I’d expect people go back to very often. (4)
It’s not a terrible record – it shares a lot of the rhythm and danceability of Do You Love Me – but it is mean-spirited, cynical and completely pointless. (2)
A pre-owned, scarcely-refurbished record; just because it’s had a new lead vocal slapped on top doesn’t stop it being an adequate but lifeless Loco-Motion pastiche that doesn’t properly reflect the talent of anyone involved in making it. (5)
Thin, weak, bored-sounding “dance music” that – fatally – doesn’t ever make you want to get up and dance, this is both an artistic misfire and a commercial misjudgment. (3)
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
Certainly this isn’t a logical stepping stone in the development of Motown’s quintessential group; it feels more like a “holding pattern” release, keeping the group’s name alive while Motown figured out what to do with the Supremes. (5)
A number 122 pop hit, and a reasonably faithful, largely-unimpressive Four Seasons tribute record, which is to say a pretty much complete waste of the Temptations. (4)
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)
If the A-side had seemed like a conscious attempt to reposition Hattie away from being a blues artist and towards a more R&B/pop place, then this takes things considerably further: it sounds like something that could have been cut by Mary Wells. (8)
Not really blues in itself, it’s at the outer edges of blues-flavoured R&B balladry – but it’s still not really all that commercial. (7)
Motown Junkies 