Probably the best of Eddie’s three Motown singles to date, and the writing credit means it’s a Historically Significant record to boot; it shows plenty of promise and development, and it’s a good little record, but there was still significantly better to come from Edward Holland Jr. as both a singer and as a writer. (6)
Still, best not concentrate on what this record isn’t, and just enjoy it for what it is. And what it is, really, is a lot of fun. It’s just not quite “there” in terms of everything clicking into place. (6)
Considerably less traumatising than the horrific A-side Mr Sandman, this is probably the most commercial thing Marvin Gaye had yet recorded. (5)
Ultimately, it’s not terrible, but the Marvelettes had come down from a whole different level to get here.
The whole thing is underpowered, a would-be dance record that never once makes you want to get up and dance.
Mable John is absolutely in her zone here, giving probably the greatest performance of her Motown career. (7)
While this early hit isn’t much to listen to today (thanks to a weedy, underpowered chorus too small for the song), it played its part in keeping him at Motown, thus helping set the stage for the glory days of the mid-Sixties. (5)
A brilliant record, played with passion and sung superbly, one of the very best of all Mary Wells’ many great records.
One of the most obscure of all Motown’s many acts, the Equadors cut just this one single for the ill-fated Miracle label, and both sides of it are totally forgettable on an Olympic level.
Not fantastic, and (yet again) not a hit, meaning the Miracle label was now 0-for-6. The label would be closed down by an impatient Berry Gordy within four months, while the Equadors – at least under this name – were never heard from again.
Compared to the A-side, this has slightly more in common with the rest of the Motown output of the time. Slightly. (6)
Motown Junkies 