Not for nothing would Smokey Robinson forge a reputation as the Temptations’ master craftsman: first time out, on a supposedly throwaway B-side, a frothy, fun little sketch that wasn’t going to pull up any trees, his ideas on how to best play to the group’s strengths were already years ahead of anyone else they had worked with up to this point. (7)
A number 122 pop hit, and a reasonably faithful, largely-unimpressive Four Seasons tribute record, which is to say a pretty much complete waste of the Temptations. (4)
This is easily as good a record as the A-side. (6)
Hardly life-changing, but as a single it’s highly enjoyable; as a time capsule from some alternate universe where Martha Reeves never became a star, it’s nothing short of fascinating. (6)
A totally average-sounding early-Sixties girl group record with poorly-conceived, unsympathetic lyrics. Compared to the A-side, this can’t help but be a major disappointment. (5)
The best record the Marvelettes ever made; magnificent, and beautiful, and forever. (10)
A virtually instrumental dancer, not much more than a glorified jam session, but plenty of fun, and even if it’s not really all that strong on its own merits, the context makes it a highly likeable breath of fresh air. (5)
A complete waste of Stevie Wonder. Unfunny, meandering, pointless, slightly unsettling, badly performed pap. (1)
This would have made a super Temptations single in its own right, and absolutely doesn’t deserve to lie forgotten as a B-side to a cash-in record under a novelty name. (8)
A decent single with a strong, driving groove, only denied a chart hit by the circumstances in which it came to be made. An important early record by one of Motown’s most important groups. (6)
Not terrible by any means, but not particularly good either, especially when compared to what was just around the corner for the group. (4)
Motown Junkies 