A pre-owned, scarcely-refurbished record; just because it’s had a new lead vocal slapped on top doesn’t stop it being an adequate but lifeless Loco-Motion pastiche that doesn’t properly reflect the talent of anyone involved in making it. (5)
Thin, weak, bored-sounding “dance music” that – fatally – doesn’t ever make you want to get up and dance, this is both an artistic misfire and a commercial misjudgment. (3)
The song isn’t good, the performances aren’t good, and whatever had been magical about Do You Love Me, it’s missing here; this is just a stupid dance record, and not even a fun one at that. 3
A remarkable piece of work, a good record and a genuinely great song; this, more than any other, would become remembered as the sound of the early Miracles. (8)
That it came coupled with one of the all-time great Motown ballads is just unfortunate, because this is a fun little single in its own right. (6)
Cringeworthy, drippy and pointless. (1)
Is there anything in the world of music more painful than an unfunny comedy record? (1)
A nice set-filler, a pretty bit of enjoyable “middle of Side Two” album padding, but it’s not catchy or instant enough to cut it as a hit record in its own right. (6)
Certainly this isn’t a logical stepping stone in the development of Motown’s quintessential group; it feels more like a “holding pattern” release, keeping the group’s name alive while Motown figured out what to do with the Supremes. (5)
Probably the weakest record Mary Wells had yet made for Motown, and not one to dwell upon. Of course, she’d already made enough truly spectacular records that fans could overlook this unsatisfying blip. (3)
A perfectly good Mary Wells single, perhaps even a “typical” Mary Wells single; me, I think it’s extremely disappointing without ever being noticeably bad.
Motown Junkies 