89. Mable John: “Looking For A Man”
A bad match of vocalist and material leads to a record that, while fun, ends up being less than the sum of its parts. (5)
Tag Archives: Motown
88. Mable John: “No Love”
A defiant, earthy, bluesy doo-wop number, done at a pace so slow it’s almost stationary, this follows in the footsteps of Who Wouldn’t Love A Man Like That in being enjoyable but not especially memorable. The song doesn’t really go anywhere, and instead acts solely as a vehicle for Mable to show off her formidable pipes. (6)
87. The Miracles: “Mighty Good Lovin'”
A fine record. It’s not a Miracles classic, not by Smokey’s rarified standards, and it’s not without its problems – it’s a trifle repetitive, and (most uncharacteristically for its writer and lead singer) it doesn’t really go anywhere having made such an explosive start – but it’s plenty of fun nonetheless.
86. The Miracles: “Broken Hearted”
Motown’s first double-sided hit. The public was right – Mighty Good Lovin’ is the better song – but this one is good stuff too. A lavish, expensive-sounding production, and the song underneath it is a strong one, a noticeable step forward from the group’s earlier work.
85. Barrett Strong: “Two Wrongs Don’t Make A Right”
A final teaming of Strong with the then-Motown songwriting “A” squad of Smokey Robinson and company boss Berry Gordy, this is a good song, but Strong’s performance, while fun as far as it goes, doesn’t go far enough. Competent, but ultimately disappointing. (4)
84. Barrett Strong: “Misery”
The final throw of the dice for Barrett Strong, who had spent almost two years trying in vain to score a follow-up hit. (6)
83. Andre Williams: “Shoo-Doo”
Silly, entertaining and much, much better than the charmless, rockabilly-lite Rosa Lee (Stay Off The Bell), mainly because this one actually sounds like an Andre Williams record.
82. Andre Williams: “Rosa Lee (Stay Off The Bell)”
This sounds straight and flat, and not in the least bit scandalous or salacious. It could have been sung by pretty much anybody, which makes you wonder just what the point of getting Andre Williams in to record it was. A real waste. (2)
81. Mary Wells: “I’m So Sorry”
Yet again, listening to another assured, sassy, sexy performance, it’s startling to remember Mary Wells was just a few days past her eighteenth birthday. Just two singles in, and her position atop the hierarchy of female Motown vocalists was already secure. (6)
80. Mary Wells: “I Don’t Want To Take A Chance”
Really this was just the start; there were still two more years of toil and a lot more misses than hits to be endured before Motown would get to where they were heading. But this is a definite start along that path nonetheless, and a great song to boot.
79. Marvin Gaye: “Never Let You Go (Sha Lu Bop)”
While Marvin doesn’t sound quite as bored as he did on the A-side, he’s still only giving this about fifty per cent, tops. The song really calls for a forceful, full-on delivery to mask its pilfering and lack of lyrical content, but he sounds most un-Gayelike: flat, perfunctory, almost limp; going through the motions. (4)
Motown Junkies 