667. The Marvelettes: “Anything You Wanna Do”
Coming up in the middle of a run of greatness, given the heights we’ve just crested, well, to call a record pretty stupid but quite good anyway somehow feels even harsher than usual. But here we are. (4)
Category Archives: Writing credit: Ronald Miller
661. The Supremes: “Twinkle Twinkle Little Me”
If it’s not exactly one I’m going to be rushing to play again, an uninspiring record built on a flawed and hokey premise, it’s still got its moments, and Diana Ross is responsible for them all. (4)
659. Barbara McNair: “The Touch Of Time”
Once again, it’s a record that has almost nothing to do with Motown in 1965, but it’s done with no little skill and ends up getting under my skin more than I’d anticipated or wanted. Good show, in every sense. (6)
658. Barbara McNair: “You’re Gonna Love My Baby”
It doesn’t entirely “fit” the musical narrative of Motown ’65 (though it fits the commercial behemoth narrative very well indeed), but there are some strikingly modern touches mixed in with the stagey setting, and I’m surprised it didn’t find more favour with buyers; it’s absolutely fine by me. (7)
621. Tony Martin: “The Bigger Your Heart Is (The Harder You’ll Fall)”
Ridiculous, but there’s the tiniest kernel of understanding buried in here along with the finger-snapping tune; not enough for Tony to really embrace his inner ham in the style of Bobby Breen, and he’s not a good enough singer to tease out the dignity in schlock a la Billy Eckstine, but enough to make me steer away from giving it the lowest score possible. (2)
581. Billy Eckstine: “Had You Been Around”
Once more, this is nowhere near as horrific as it might have been, Mr. B bringing a level of class to proceedings which makes it all go down smooth. Truth be told, I’ve ended up becoming rather fond of it. (6)
580. Billy Eckstine: “Down To Earth”
This may be many things, but it’s certainly not another half-assed attempt at a late-career revival for a washed-up has-been; Mr B. can still bring it. (4)
520. Marvin Gaye: “My Way”
The painful truth is that while Marvin Gaye may have been Motown’s greatest and most fascinating solo star, his MOR output is that of a keen hobbyist indulging himself at the listener’s expense, and on this evidence, I’m not sad we won’t be covering any more of it. (2)
