There’s no reason this couldn’t have done well in 1963 as an A-side, but the single sank without trace and so radio never really got the chance to flip the record over and find it. A pity; between this and the topside, this is a fine single that really deserved better. (7)
A refreshing little early soul treat, and enough to make you wonder what might have happened if Miss Griner had been able to stick around at Motown. (7)
Weird (which I wholeheartedly approve of), but also faintly rubbish (which I don’t). (4)
Really quite poor indeed, and unforgiveably boring to boot, it’s utterly mystifying to me why this was ever released at all. (2)
A striking statement of intent from a young man determined even then to be taken seriously as an artist, and a fine note on which to end Motown’s fourth year. (7)
An enjoyable record, hardly a classic single but a vast improvement on what had come before. It was still very early days for both writers and singer, and there was much better to come from both, but this was at least a step in the right direction. (6)
Delicate and charming, whilst at the same time being sappy and unspectacular; it does at least sound like Marvin Gaye, the Marvin Gaye we know and love, and that’s worth something. (5)
Fun enough on its own merits, and it certainly did its job – there’s plenty to enjoy here. I’d just be surprised if this was anyone’s favourite Marvin Gaye record. (6)
Thin and conventional, but highly engaging, extremely likeable Jackie Wilson-esque midtempo dance pop. (6)
Still plenty of room for improvement, but this is a big step forward for Eddie’s career on both sides of the glass. (7)
Plenty to enjoy here: a good record and one with definite crossover potential. It’s just not fantastic, as some have made it out to be. (6)
Motown Junkies 