Back in 1962, Motown had marketed Stevie as “the 12 Year Old Genius”. Uptight marks one of those rare occasions where the marketeers – probably by accident, but still – turned out to have been right all along. (9)
If it’s not exactly one I’m going to be rushing to play again, an uninspiring record built on a flawed and hokey premise, it’s still got its moments, and Diana Ross is responsible for them all. (4)
Maybe it’s unfair to give it a mark at all, never mind to consider it as part of the Supremes’ “real” recorded output in this most glorious of years for Motown’s top group. But here it is – and it’s so cacophonous, so ear-splittingly unlistenable, that no matter how good its intentions and how kind its heart, it ends up one of the worst Motown singles of all time. (1)
Once again, it’s a record that has almost nothing to do with Motown in 1965, but it’s done with no little skill and ends up getting under my skin more than I’d anticipated or wanted. Good show, in every sense. (6)
It doesn’t entirely “fit” the musical narrative of Motown ’65 (though it fits the commercial behemoth narrative very well indeed), but there are some strikingly modern touches mixed in with the stagey setting, and I’m surprised it didn’t find more favour with buyers; it’s absolutely fine by me. (7)
If the rest of the song is too slight and weird to really connect without Marvin Gaye and his chemistry balancing things out, this is still a fine record not easily forgotten. (7)
Understandable that Tammi’s solo work has been overshadowed by the Marvin Gaye duets, especially since we never got to hear the next act in her story. But this right here is Tammi’s show, and she inhabits the record body and soul; as calling cards go, they really don’t come much more impressive than this. (9)
Really rather lovely, and exactly the sort of thing I hoped to find when I started writing this blog. Here’s to many more of them. (6)
Yet another great act to roll off the Motown production line; unlike so many of the one-and-done wannabes, the wrecks of whose Motown careers litter the catalogue of the underfunded fifth-string VIP Records label, these guys are absolutely keepers. (8)
Probably the least cool thing we’ve seen here on Motown Junkies in at least three years, not to mention the musically sloppiest, and it only gets worse with repeated plays. Just dismal. Sorry, R-Dean. (1)
A nice way to sign off; it doesn’t pull up any trees, it never takes off in the way it seems to vaguely promise, but it’s sweet and catchy and wholly listenable, and that’s okay by me. (5)
Motown Junkies 