188. Lamont Dozier: “Dearest One”
A low-key start for the Holland-Dozier-Holland hit-making machine, but enjoyable all the same. (7)
Tag Archives: Motown
187. Herman Griffin & Band: “Uptight”
One to miss, unless you somehow forgot to buy The Complete Motown Singles: Volume 1 and so don’t have access to Snake Walk. (2)
186. Herman Griffin: “Sleep (Little One)”
Probably the best record Herman Griffin ever made, and proof that he definitely had some real talent; it just wasn’t perhaps enough to make him a Motown success story. (5)
185. Little Stevie Wonder: “I Call It Pretty Music But The Old People Call It The Blues (Part 2)”
I don’t care if someone’s 12 or 72, if they can play the harmonica like this, let them play it all day long. (6)
184. Little Stevie Wonder: “I Call It Pretty Music But The Old People Call It The Blues (Part 1)”
This first single is little more than a calling card, an introduction to a cartoon character – gather round, everyone, and let’s all coo at the adorable blind tween! A poor first showing, then, for one of the all-time greats. Other than as a showcase for Stevie’s spectacular harmonica work, it’s really not very good at all. (3)
183. The Valadiers: “While I’m Away”
Roughly twenty times better than the A-side, as well as being by far the best thing the Valadiers ever recorded. That’s not to say it’s a great record, or anything, but it’s a fine go at making a great record. It’s alive, certainly, and it’s enjoyable to listen to. (6)
182. The Valadiers: “Because I Love Her”
This is by no means a terrible record, there are some neat touches, but overall, it’s not especially memorable, nor especially well-performed. (4)
181. Earl Washington All Stars: “March Lightly”
Not bad, but not really exciting either; this is authentic jazz, for sure, but it’s also a bit generic. (4)
180. Earl Washington All Stars: “Opus No. 3”
Plenty of fun, and a million miles away from the cod-jazz MOR stylings of the only previous offering on the Workshop Jazz label. (5)
179. Hank & Carol Diamond: “I Remember You”
It was surely a decidedly dangerous tactic, releasing MOR fluff aimed at middle-class whites to launch a new credible jazz offshoot. (3)
178. Hank & Carol Diamond: “Exodus”
Few serious jazz aficionados were likely to rush to the shops to get their hands on a record with a writing credit by Pat sodding Boone, of all people. (4)
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