What The Critics Say
Kicking out this CD a cappella with the mellow "Prelude (A New Direction)," these revamped Contours bare no similarities (except for two original members) to the energetic, rambunctious lads who first recorded more than 40 years ago. (Has it been that long?) A bass remarkably similar to Melvin Franklin is charismatic on the wandering "Grown Up"; "New Love" has a stalking beat that captivates the moment but doesn't linger. "The Present" is pleasant; the lilting romancer provides a good direction for the Contours to follow the next time in the studio. Strong harmonies highlight a revivalesque rendition of Billie Holiday's "God Bless the Child"; a scintillating version of "Days of Wine and Roses"; and the "Prelude," which is rejuvenated as "The Reprise." However, the contrived "Sex Me Up" never revs above an R. Kelly wannabe. ~ Andrew Hamilton, All Music Guide
What The Critics Say
The first LP released on Gordy Records is also the Contours' first and only regular album release on Motown; a later collection also titled Do You Love Me was a greatest-hits compilation. This is worth a few bucks if you can find a copy. Three cuts were released on the Motown label before they were switched to Gordy ("The Stretch," "Funny," and "Whole Lotta Woman"); all stiffed. On Gordy, the group enjoyed their biggest hit the first time out in "Do You Love Me." "You Better Get In Line," a slick dance number, died as the flipside of "Shake Sherrie." A lively "You Must Be Love" has Billy Gordon swapping leads with Joe Billingslea. "Shake Sherrie" has a looping beat, a wandering baritone sax, and incredulous vocals from Gordon, Billingslea, Sylvester Potts, Billy Hogg, and Hubert Johnson. The rest suffer from a lack of identity; neither the group nor Motown had defined their sound when these were cut. ~ Andrew Hamilton, All Music Guide
