254. The Valadiers: “You’ll Be Sorry Someday”
Weird (which I wholeheartedly approve of), but also faintly rubbish (which I don’t). (4)
Category Archives: Writing credit: Robert Bateman
168. The Marvelettes: “Playboy”
If the stellar, never-to-be-recaptured magic of their début single had been something of a quirk, a statistical oddity if not an outright fluke, then in many ways the Marvelettes’ story really begins right here. (6)
151. Henry Lumpkin: “Don’t Leave Me”
A disappointing waste of both a good song and a good vocalist, paired together wholly inappropriately and satisfying no-one. (3)
142. The Marvelettes: “Twistin’ Postman”
Ultimately, it’s not terrible, but the Marvelettes had come down from a whole different level to get here.
127. The Valadiers: “Take A Chance”
Despite initial appearances to the contrary, there’s not much to report going on here song-wise.
126. The Valadiers: “Greetings (This Is Uncle Sam)”
Motown’s first white vocal group; on this evidence, they were also pretty ordinary singers compared to some of their Motown labelmates, even if they were above average by the not-terribly-high standards of white Sixties doo-wop groups.
125. Eddie Holland: “Take A Chance On Me”
A clear statement of intent, both from the singer – who had slogged through two years of flops at United Artists without ever hinting he had this sort of performance in him – and from the writers, each of whom was making a real name for themselves. Quite superb. (8)
123. The Satintones: “Faded Letter”
An interesting exercise and no more; inconsequential to the point of pointlessness. […click title to read more]
119. Freddie Gorman: “Just For You”
A disappointingly straightforward rocker with little to commend it; opening with an unexpected guitar solo, it quickly settles into a shuffling R&B/blues-influenced groove and then fails to go anywhere at all. […click title to read more]
101. The Marvelettes: “So Long Baby”
Not a patch on the A-side, and Wanda’s incredibly high pitched falsetto vocals are actually painful to listen to in places.
100. The Marvelettes: “Please Mr Postman”
This is just about as good as any pop record that had ever been made up to that point, and while it would still be years before Motown approached anywhere near this level of quality on every release, it’s still an essential inclusion in any Motown best-of shortlist. In a word: marvellous. (10)
