But it was her husband, with 'Love Me All The Way,' a Top Twenty R&B hit in 1963, 'Helpless,' number thirteen in 1966, and several other releases, who was providing the moving force behind Weston's career. Despite Stevenson's efforts, it was only her duets with Marvin, particularly 'It Takes Two,' a soulful mid-tempo dance song with a memorable vocal chorus written by Stevenson and Jobete staff songwriter Sylvia Moy, that captured the public's imagination. Motown never could quite get a handle on just what image Weston should project or who her audience would be. Part of the problem, according to Motown employees, was Weston's physique. The sequined, tight tube dresses Motown poured -or stuffed- its female stars into were perfect for Diana Ross's narrow frame. But on Weston, a woman with big hips and an ample backside, the dresses made her curves seem mountainous. White nightclub audiences found this exhibit of black physiology amusing. An ex-Motown staffer remembers, "The white folks would just laugh at her body. They just thought it looked too big. It made it difficult for them to take her seriously." Another part of Weston's problem was that many at the company, including some of Berry's sisters, resented Stevenson using his position to further her career. Taken together these factors, plus Berry's emphasis on Ross as Motown's only female star, ensured that Weston never became any more than a regular opening act for Motown's bigger names. "] I can't recommend this book too highly, which was published