The reason for McCullers finding himself sidelined on his own record is pretty straightforward; rather than being a daring aesthetic choice on Smokey’s part, the simple fact is that McCullers’ performance wasn’t good enough, and had to be compensated for with backing vocals and instruments. (4)
A run-of-the-mill early-Sixties R&B workout with some bluesy piano, sung well enough by Lamont but with little else to commend it. Lyrically it goes nowhere, and musically, it’s unimpressive, unimaginative and ultimately boring. 3
A low-key start for the Holland-Dozier-Holland hit-making machine, but enjoyable all the same. (7)
One to miss, unless you somehow forgot to buy The Complete Motown Singles: Volume 1 and so don’t have access to Snake Walk. (2)
Probably the best record Herman Griffin ever made, and proof that he definitely had some real talent; it just wasn’t perhaps enough to make him a Motown success story. (5)
I don’t care if someone’s 12 or 72, if they can play the harmonica like this, let them play it all day long. (6)
This first single is little more than a calling card, an introduction to a cartoon character – gather round, everyone, and let’s all coo at the adorable blind tween! A poor first showing, then, for one of the all-time greats. Other than as a showcase for Stevie’s spectacular harmonica work, it’s really not very good at all. (3)
Roughly twenty times better than the A-side, as well as being by far the best thing the Valadiers ever recorded. That’s not to say it’s a great record, or anything, but it’s a fine go at making a great record. It’s alive, certainly, and it’s enjoyable to listen to. (6)
This is by no means a terrible record, there are some neat touches, but overall, it’s not especially memorable, nor especially well-performed. (4)
Not bad, but not really exciting either; this is authentic jazz, for sure, but it’s also a bit generic. (4)
Plenty of fun, and a million miles away from the cod-jazz MOR stylings of the only previous offering on the Workshop Jazz label. (5)
Motown Junkies 