Marvin’s life story was a fascinating patchwork of weird, unbelievable things; here, his musical story treads the same odd pathways, and the results are a strange, groovy trip, but a trip which still compels you to get up and dance. I love it. (9)
A success all round, then, leaving aside the nagging curiosity as to what might have happened with just a couple more days’ work: a fitting way to cap the best year so far in the Motown careers of both Smokey Robinson and the Miracles, now restored to their full powers. Roll on 1966. (8)
Genuinely excellent, the sort of thing that helps give Motown its good name. And it’s better than anything the Miracles have ever done in this mode until now, there’s no doubt about it. Excellent. Just not quite as excellent as some of the Miracles’ 1965 highlights. (8)
We’ve never had cause to doubt the Marvelettes’ quality before, but now they’re paired with the right producer, they’ve got a part to play in the Motown story too, a part that finally makes sense; Don’t Mess With Bill is almost something like a rebirth, the start of the Marvelettes’ magnificent second act, and its brilliance is cause for much celebration.
Smokey Robinson, who writes and produces here, had by now developed a knack of bringing the best out of underpowered singers, and this is a fine effort; if it’s not exactly top-drawer Smokey (or indeed top-drawer Jimmy, though listeners at the time had no idea what that might sound like), it’s Ruffin Senior’s best single to date, both whistleable and likeable. (7)
This should have been the A-side; this should have been the way the Miracles approached My Girl Has Gone. Should, should, should. What it is, though, is another excellent Temptations single. We won’t be meeting them again for six months; Don’t Look Back is good enough to make that temporary parting hurt. (8)
Is it a worthy follow-up to either My Girl or My Guy? You’d have to say no. Is it a worthy continuation of the recent glorious string of Temptations singles? Again, surely the answer would be no. But for all of that, is it a bad record? Of course it isn’t. (5)
It’s hard to see this as anything other than filler, both on the album and on this single – once again, I doubt many fans have this at the top of their lists of Miracles favourites – but at least it’s very pretty filler. (5)
It’s not bad, and I’ll never turn down the chance to hear the golden-era Miracles doing what they do best. It’s just that after all the riches they’ve given us recently, and with all the riches they’re going to be giving us just around the corner, this feels like a stopgap, and therefore something of a let-down. (5)
It’s not great – it’s weird and it’s been poorly thought out, and what’s more it’s badly dated, as well as musically derivative of a much better song Marvin had already recorded. Still, even if it says very little about the Marvin Gaye we’ve come to know here in 1965, you can’t really accuse it of being dull, and that’s worth a couple of marks in itself. (5)
Not for the first time, Marvin Gaye sounds every inch the pop superstar, and once again here he’s made an excellent pop record. The difference, now, is that he’s making excellent records that sound like Marvin Gaye records, and everyone else is hereby put on notice. (8)
