This is a cartoon relationship, a pick-me-up for lovers everywhere to keep the faith after the relentless emotional pummelling of the A-side, a riposte where for these three minutes, nothing can ever, will ever go wrong, and on with the kissing. Tomorrow can wait.
This isn’t so much soul as it is indie pop. It’s remarkable, in almost every sense – it’s both surprising and surprisingly fresh, it’s raw and honest and beautiful, and I love it. (9)
It should have been another fantastic track to go on the million-selling best-of package their brilliance deserved; instead, it’s one of the last things Motown released on them, one of the last things left to remember them by. But it does them justice, there’s no doubt about that. (8)
Probably the least cool thing we’ve seen here on Motown Junkies in at least three years, not to mention the musically sloppiest, and it only gets worse with repeated plays. Just dismal. Sorry, R-Dean. (1)
It’s a mess – but it’s a likeable mess, and thanks to Kim’s vocal, rolling with the punches so adroitly you can’t help but applaud, it’s probably better than it has any right to be. (6)
Whatever their style, the Marvelettes have very, very few duff records in their future, something underlined by this supposedly throwaway B-side, an unexpected little treat. (7)
The Velvelettes themselves speak fondly of it as the closest they ever got to making the record they wanted to make. As well they should: He Was Really Sayin’ Somethin’ is a wonderful, wonderful record, well deserving of a place in anyone’s desert island collection – but with all due respect, this is their masterpiece. (10)
If Marvelettes fans weren’t likely to be moved by this ill-judged and poorly-executed cover, it’s equally unlikely any hardened jazz cats were particularly impressed either. We can only hope Earl himself was having some fun doing this throwaway jam, splashing his instrumental karaoke all over a fine band track, because I’m not sure anyone else enjoyed the experience. (3)
The Velvelettes, for those not paying attention, are a great, great group, and this is another excellent record. That their greatness has been all but forgotten (even by Motown fans) is a travesty, and it’s something I hope to put right here on Motown Junkies. Who’s with me? (8)
In this glorious year of amazing records, the very last Motown single of 1964 turns out to be quite possibly the best one yet. And I’m not actually sure it’s even my favourite Velvelettes record. Yes, they’re that good. (10)
There’s no getting away from the fact it’s a relic, an artefact from an already distant past. Plus, nice though it is, who on earth was flipping this single over in the first place? (5)
