Fine work, and if it’s too slow-paced and melodramatic for radio, it’s still probably the best thing Kim Weston had yet recorded for Motown. That she even had room to improve at all is a credit to her, rather than a mark against this record. (8)
I don’t know why Motown pulled it so abruptly before it had had a chance – maybe they were cutting back on the big ballads, following the failure of Brenda Holloway’s recent similar efforts? – but it was America’s loss, because there’s nothing much wrong with this record at all. (8)
None of the individual elements of this (the song, the vocals, the band) is completely awful, just mediocre, but somehow when they’re all put together they amount to less than the sum of their parts. I’m not often physically worn out by trying to listen to a record turned up loud, but this one managed it, and I don’t particularly want to hear it again. Sorry, lads. (2)
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)
There are so many great moments here that it’s pointless even trying to list them all; it’s just a pity they’ve all been shoehorned into a somewhat ropey little song. And Bobbie Smith I could listen to all day long. For now, knowing there’s so much better to come from these guys around the corner, this will just about do. (5)
One of Motown’s biggest personalities and one of Motown’s biggest voices, and they’re utterly wasted on this thin little sketch, a failed proof of concept intended for two entirely different people; it’s like giving Cézanne a paint by numbers and some chunky crayons. (3)
If it’s lacking a little as a song, there’s very little wrong with it as a record, and as an introduction to a hot new partnership, it’s right on the money. There’d be better songs for these two yet, but this is a fine way to start. (7)
Despite its dated, scruffy nature, there’s the feeling that this has been pulled above its natural level, and it ends up being well worth a listen. (5)
A work in progress, a hint of the shape of things to come, that also happens to be very groovy in its own right. That the Velvelettes’ weakest Motown single is still several orders of magnitude better than most artists’ best should tell you all you need to know. (6)
The Contours might have been proud to have made this, but it sacrifices the sly winks, the slink and personality of the A-side in favour of a pounding bar-room rhythm; a case of going for vibe ahead of tune or lyrics. (5)
Shorty was still yet to mature as an artist, and this has too many jarring musical moments and not enough witty lines to rank among his very best. It’s still excellent, which gives you some idea of the kind of talent we’re dealing with here. Go, Shorty, go. (8)
Motown Junkies 