While this early hit isn’t much to listen to today (thanks to a weedy, underpowered chorus too small for the song), it played its part in keeping him at Motown, thus helping set the stage for the glory days of the mid-Sixties. (5)
An interesting exercise and no more; inconsequential to the point of pointlessness. […click title to read more]
Hardly a fitting send-off for a group who never really got the recognition they deserved, either for their place in Motown history or for the handful of exceptional records they released.
A generic, uptempo R&B rocker that again sounds as though it was written with the radio in mind, and which sounds at least five years out of date. Almost completely forgettable both as a song and a record.
A half-formed song idea which should really have ended up in the wastepaper basket.
A disappointingly straightforward rocker with little to commend it; opening with an unexpected guitar solo, it quickly settles into a shuffling R&B/blues-influenced groove and then fails to go anywhere at all. […click title to read more]
Gorman doesn’t have the best voice in the world, but he definitely has talent, handling the song with aplomb and a real deep warmth which is immediately likeable. The song is a good one, too, getting better as it goes on.
The biggest problem, really, is that Come To Me was never that great a song to start with. It’s immediately obvious it wasn’t written with Mary Wells in mind, providing a distinctly unsatisfying experience. (5)
A brilliant record, played with passion and sung superbly, one of the very best of all Mary Wells’ many great records.
A laughable up-and-down mess that makes Sebastian sound as though he’s doing an awful William Shatner impression. Nobody in their right mind would ever want to listen to this more than once. (1)
This bizarre spoken-word vignette by white radio DJ Joel Sebastian – a friend and media contact of Berry Gordy Jr. – helped extend Miracle Records’ hitless streak to eight singles and counting. (1)
Motown Junkies 