A strange, echoey Fifties barcarolle, somewhere between the Flamingos and Debussy. It sure is pretty; no masterpiece, to be sure, and nothing at all to do with Motown in the summer of 1965, but when we hit the middle eight, all faults are forgiven, and your heart could melt. (6)
It’s a pity that there were no more singles, that we don’t get to track her development into a mature artist here on Motown Junkies; this isn’t great, it’s silly and annoying, but there’s enough here to suggest this might have been an interesting story to watch. (3)
Absolutely nothing to do with Motown at all, but one still has to applaud the sheer effort that went into getting all of the details of this pastiche so spot-on. (5)
Not for the first time, Motown seem to have chosen the wrong side of a single to plug: an excellent record through and through. (8)
Cringeworthy, drippy and pointless. (1)
Is there anything in the world of music more painful than an unfunny comedy record? (1)
Not great, not by any means, but it’s nice enough. Nowhere near as bad (or as cringeworthy) as the A-side, at any rate. (4)
A second weak “historical comedy” record about the Battle of the Little Bighorn, apparently a vein Gordy didn’t feel was tapped out yet following Popcorn Wylie’s baffling Custer’s Last Man. It’s difficult to argue this isn’t the worst record Motown had released to date.
