This is the weaker of the two sides, and when the single was reissued it found itself relegated to the B-side, but it’s unfair to judge it too harshly when it’s really just being taken out of context. The real fun, though, is to be had on Part 2. (7)
Not massively different from the A-side in any really noticeable way, and yet not even half as good. Cloying, dull and just generally not very much fun. (2)
A fine showcase for Freeman Cowgar’s pedal steel work, by far the most distinctive feature of this pleasantly inoffensive little record. In fact, I might even play this again out of choice. 4
Perfectly inoffensive, quite pleasant as background music, but that’s about it. 3
Much more dated and much less vital than the Jackie Wilson record it’s trying to copy; it’s not something I’d expect people go back to very often. (4)
Too slow to be a single, this is still one of the best records of Mary Wells’ all-too-brief tenure with Motown, and it gets better each time you listen to it. (9)
Unusually for a big-ticket Motown single, it’s a song that rewards repeated listens, rather than grabbing you by the lapels and proclaiming its greatness. (8)
Paradoxically too catchy, too good, to be a B-side, but out of date as a viable chart single. (7)
He sounds so into what he’s doing, it’s positively infectious. If you’re humming it to yourself as you read this, I bet you’re smiling too. (8)
A sneakily catchy number, which after a few listens actually gets its hooks much deeper into you than the A-side. (7)
As a song, it’s okay; danceable, likeable, but rather flat and ultimately uninteresting. As an arrangement, a vocal showcase, a calling card for future greatness, it’s nothing short of remarkable. (6)
Motown Junkies 