Ultimately it isn’t as good a pop record as The Way You Do The Things You Do, and Whitfield and Holland weren’t quite finished with this concept yet – but it works a lot better than the topside, and would have made a stronger single. It’s certainly more of an indication of what lay ahead in the Tempts’ short-term future. (7)
Despite some rough edges, there’s plenty to like and enjoy here – it just doesn’t feel like the next step for this group, or indeed like any kind of step from The Way You Do The Things You Do at all. (6)
As perfect an encapsulation of everything Motown had been working towards all of these years as we’ve yet seen, and more importantly it just happens to be a great pop single to boot. (9)
Nowhere near as good as it could have been, nowhere near as good as it thinks it is, and (perhaps most importantly) nowhere near as good as its opening half-minute suggests it’s going to be. (4)
It’s just nice, which isn’t a crime, but which is a crying shame; the two voices go together so well, this really needs a big, soaring chorus, something to show both singers off to their very best. Somewhere in New York, Ashford and Simpson were taking note. (5)
Wears out both the listener, and its welcome. Ironically, decent tune though it is, there’s just not enough happening. (4)
A small-scale pop dancer that mostly succeeds on its own merits, ending up as a half-decent little record – it’s just a pity everyone’s sights weren’t aimed a little higher. (5)
This review shouldn’t under any circumstances be mistaken for a recommendation, but I’ve Been A Long Time Leaving certainly isn’t as horrible as it could have been. Not great, sure, but this probably should have been the single all the same. (3)
Really, really poor, even by the already-low standards you might expect of a country cover of “Bringing In The Sheaves” about bank robbery and mass lynchings. (1)
While I wouldn’t swap Brenda’s later records for anything, it would still have been nice to hear more like this. (7)
If you’d have told anyone at Motown that this would end up being Brenda’s biggest commercial hit, and that the raggedy girl group she pulled up by the bootstraps would rack up twelve Number Ones, they’d probably have laughed in your face. (8)
Motown Junkies 