Good fun while it’s playing, completely forgettable once it’s done; it bears absolutely no relation to the future of the Elgins, not to mention the rest of the Motown catalogue at the time, but it’s nice enough. (5)
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)
I can’t escape the feeling that the vocal and the track still don’t properly agree with each other, even here at the second time of asking. Still pretty, though. (6)
Artless and joyless, this is one of the weakest records the Marvelettes ever released, especially on a 45, and the song should never have left the drawing board. (2)
A really good little record, small in scale but beautifully formed. (7)
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)
I’d be a massive hypocrite if, having berated the Contours for doing the same thing over and over again, I didn’t at least give them credit for trying something new. I just wish it had turned out a bit… better, that’s all. (5)
Remarkable, and wholly excellent. (9)
Weird (which I wholeheartedly approve of), but also faintly rubbish (which I don’t). (4)
An enjoyable record, hardly a classic single but a vast improvement on what had come before. It was still very early days for both writers and singer, and there was much better to come from both, but this was at least a step in the right direction. (6)
A nice set-filler, a pretty bit of enjoyable “middle of Side Two” album padding, but it’s not catchy or instant enough to cut it as a hit record in its own right. (6)
