Very much an appetiser, a curtain-raiser for the entrance of the Elgins proper which is coming up in a few months’ time; beyond that, it’s an interesting listen, but ultimately little more than that. Perhaps appropriately for such a dated record, the group who made it were already being consigned to history. (4)
A single-scoop serving of pleasing low-key balladry, and it’s obviously a decent song, but it’s got less to do with Stevie Wonder than anything since he dropped the “Little” from his name, and as such it needs to be seen as a step backwards, nice enough though it is. (5)
It might sound like damning with faint praise to call this probably Stevie’s best single since his big breakthrough with Fingertips. (6)
Nowhere near as good as it could have been, nowhere near as good as it thinks it is, and (perhaps most importantly) nowhere near as good as its opening half-minute suggests it’s going to be. (4)
It’s just nice, which isn’t a crime, but which is a crying shame; the two voices go together so well, this really needs a big, soaring chorus, something to show both singers off to their very best. Somewhere in New York, Ashford and Simpson were taking note. (5)
Confusing and irritating, undeniably, but not as bad as it could have been (or as it’s maybe trying to be); it’s actually sneakily likeable in its own annoying little way. (3)
Ultimately the song just isn’t good enough, and all the British Invasion trappings in the world can’t save a record if there’s not a decent tune at its heart. (3)
The lyrical “twist ending” makes this a lot less fun; still listenable and everything, but somehow it all now seems so much sappier, so much less interesting. (4)
A terrific little blues-pop record. A real pity this couldn’t have been included on The Complete Motown Singles: Volume 3; it certainly merited a place. (7)
It’s a featureless musical soup masquerading as a powerful message and a great vocal performance. (2)
Definitely an improvement on the A-side; ironically given the title and Stevie’s jokey opening spiel, this is actually one of the more mature records he’d been associated with so far, and all the better for it. (6)
Motown Junkies 