This is one of the most important of all Motown records, not just because it’s so much fun, or because audiences have had so much fun with it, but because it marks the start of Marvin Gaye’s career proper. (8)
Not a single, and hardly a classic, it’s still a nice song – but it’s a poor match of vocalist and material. (5)
Really just an excuse to tell the story of Martha and the Vandellas. The record? Not terrible, by any means, not even bad – it’s just a big ol’ plate full of “totally average”, which given the pedigree of everyone involved is a crushing disappointment. (5)
Beneath all the vocal howling, it’s difficult to tell whether there might be a good song buried in here somewhere. A shame, because the intro is really rather sweet, but I can’t see myself listening to this again. (1)
Fun enough in its way, but already dated even by 1962 standards, and the performances are a let-down. (5)
It’s not terrible or anything; it’s just not up to the standards set either by Mary, by the A-side, or by the Holland-Dozier-Gorman trio themselves, and has to go down as a bit of a disappointment. From small acorns, and all that. (5)
Mary Wells scored her first number one record with her best single to date, the Motown quality threshold going up and up with each passing month; perfectly judged, enticing and mesmerising, this is one of the best records of 1962. (9)
This is one of the best records the Marvelettes ever made, and it simply couldn’t have been left hidden away on the album. (9)
The whole thing just works, and it’s fun, and young, and summery, and I love it. (7)
A jaunty, relatively restrained R&B pop number that reminds me of a couple of other records without ever managing to be as good as any of them. 3
I guess it’s just one of those songs that works better as communal property, as a vehicle for a live jam or for singalong high-jinks, than something you’d choose to listen to over and over again. 3
Motown Junkies 