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)
It just doesn’t sound like it’s quite finished, which is a pity. (5)
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)
A lovely tune and a splendid lyric, even if it hasn’t quite come into full bloom yet. (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)
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 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)
In the midst of Motown’s glorious mid-Sixties Golden Age, it’s a nice enough throwback, but one that feels more like an aperitif than a main course. (6)
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)
