Post by Jonel on May 26, 2002 21:08:26 GMT -5
The Temptations will never be an ‘oldies’ band
"My Girl: The Very Best of The Temptations"
Temptations (Motown/UTV)
By Gary C.W. Chun
gchun@starbulletin.com
My entry into African-American pop music was through the Temptations. I remember buying, back in 1970 when I was 14, the group's "Puzzle People" album to add a once-neglected piece to my largely rock album collection. It was a transitional time for the group, Motown Records and the black community. The '60s were moving toward a more nationalist, self-sufficient feel when this album came out.
Of all the acts in Berry Gordy's stable, the Temptations were, and still are, the group that will never be relegated to "oldies" status. This in spite of a rich back catalog of genre-defining songs, much of which is included in this excellent two-CD anthology.
Even though its title is taken from the song that captures Motown's early, successful efforts to enter the pop charts without alienating white listeners, this anthology tries to go beyond safe, marketable and beloved pop songs. That's thanks to compilation co-producer Harry Weinger, who gives brief song histories in conjunction with remembrances by the Tempts' sole original member, Otis Williams, in the accompanying booklet.
While sacrifices are made for the double-CD career overview, this anthology is a welcome (and cheaper) contrast to the more ambitious "Emperors of Soul" box set released back in 1995. So while "I Can't Get Next to You," just one of the brilliant Norman Whitfield-produced singles and the lead track on "Puzzle People," is an obvious shoo-in for the set, more socially relevant and powerful tracks from that album -- "Message from a Black Man" and "Don't Let the Joneses Get You Down" -- aren't included.
But a successor to that latter song shows up in a dance remix of "The Jones'," along with a remix of "I'm Here" that originally appeared as a 2000 promotional single. Both songs show how the Tempts stay on top of trends.
On the front side of the anthology are two of the group's first recordings: "Dream Come True" and "I Want a Love I Can See," which preceded the run of hits Smokey Robinson wrote for them, such as "The Way You Do the Things You Do" and "Get Ready."
The group hit its peak when Whitfield took over production duties, starting with "Ain't Too Proud to Beg" and ending with the "Papa Was a Rolling Stone." In between are examples of Whitfield's studio masterworks like Motown's first funkified statement "(I Know) I'm Losing You," plus "You're My Everything" and "I Wish It Would Rain," and "I Could Never Love Another (After Loving You)."
When Dennis Edwards replaced the difficult David Ruffin, his powerhouse voice added a tougher edge to the group's collection of pointed social commentaries: "Cloud Nine," "Runaway Child, Running Wild" and "Ball of Confusion (That's What the World Is Today)."
But there was still room for the occasional sweet-voice soul song, as in producer Frank Wilson's work on "All I Need" and "I'm Gonna Make You Love Me" (performed with Diana Ross and the Supremes) and the monster ballad "Just My Imagination (Running Away With Me)."
After Whitfield's tenure, the Tempts tried to recapture the magic with songs that re-trod lyrical and melodic themes of "Papa ..." and "My Girl." Some inspired P-Funk got the group back into the groove with "Shakey Ground" (done with guitarist Eddie Hazel and the Parliament-Funkadelic rhythm section) and the Rick James collaboration "Standing on the Top."
The protest song "Power" (with a lean, great Paul Riser arrangement) and the overlooked 1984 single "Treat Her Like a Lady" round out their first go-round with Motown before leaving for what would be a disappointing tenure with Atlantic Records.
The tracks that represent theTemptations return to Motown, while not approaching the memorable early songs, show a successful attempt to fit their vocal sound into the current urban-R&B market. This time, a song like 1998's "Stay" works as an update to the basic sound and spirit of "My Girl," and the anthology ends with "Lady," a track from their most recent album, "Awesome."
That's a word that describes the heights the Temptations have reached during the its extensive career.
© 2002 Honolulu Star-Bulletin
starbulletin.com
starbulletin.com/2002/04/19/features/story13.html
"My Girl: The Very Best of The Temptations"
Temptations (Motown/UTV)
By Gary C.W. Chun
gchun@starbulletin.com
My entry into African-American pop music was through the Temptations. I remember buying, back in 1970 when I was 14, the group's "Puzzle People" album to add a once-neglected piece to my largely rock album collection. It was a transitional time for the group, Motown Records and the black community. The '60s were moving toward a more nationalist, self-sufficient feel when this album came out.
Of all the acts in Berry Gordy's stable, the Temptations were, and still are, the group that will never be relegated to "oldies" status. This in spite of a rich back catalog of genre-defining songs, much of which is included in this excellent two-CD anthology.
Even though its title is taken from the song that captures Motown's early, successful efforts to enter the pop charts without alienating white listeners, this anthology tries to go beyond safe, marketable and beloved pop songs. That's thanks to compilation co-producer Harry Weinger, who gives brief song histories in conjunction with remembrances by the Tempts' sole original member, Otis Williams, in the accompanying booklet.
While sacrifices are made for the double-CD career overview, this anthology is a welcome (and cheaper) contrast to the more ambitious "Emperors of Soul" box set released back in 1995. So while "I Can't Get Next to You," just one of the brilliant Norman Whitfield-produced singles and the lead track on "Puzzle People," is an obvious shoo-in for the set, more socially relevant and powerful tracks from that album -- "Message from a Black Man" and "Don't Let the Joneses Get You Down" -- aren't included.
But a successor to that latter song shows up in a dance remix of "The Jones'," along with a remix of "I'm Here" that originally appeared as a 2000 promotional single. Both songs show how the Tempts stay on top of trends.
On the front side of the anthology are two of the group's first recordings: "Dream Come True" and "I Want a Love I Can See," which preceded the run of hits Smokey Robinson wrote for them, such as "The Way You Do the Things You Do" and "Get Ready."
The group hit its peak when Whitfield took over production duties, starting with "Ain't Too Proud to Beg" and ending with the "Papa Was a Rolling Stone." In between are examples of Whitfield's studio masterworks like Motown's first funkified statement "(I Know) I'm Losing You," plus "You're My Everything" and "I Wish It Would Rain," and "I Could Never Love Another (After Loving You)."
When Dennis Edwards replaced the difficult David Ruffin, his powerhouse voice added a tougher edge to the group's collection of pointed social commentaries: "Cloud Nine," "Runaway Child, Running Wild" and "Ball of Confusion (That's What the World Is Today)."
But there was still room for the occasional sweet-voice soul song, as in producer Frank Wilson's work on "All I Need" and "I'm Gonna Make You Love Me" (performed with Diana Ross and the Supremes) and the monster ballad "Just My Imagination (Running Away With Me)."
After Whitfield's tenure, the Tempts tried to recapture the magic with songs that re-trod lyrical and melodic themes of "Papa ..." and "My Girl." Some inspired P-Funk got the group back into the groove with "Shakey Ground" (done with guitarist Eddie Hazel and the Parliament-Funkadelic rhythm section) and the Rick James collaboration "Standing on the Top."
The protest song "Power" (with a lean, great Paul Riser arrangement) and the overlooked 1984 single "Treat Her Like a Lady" round out their first go-round with Motown before leaving for what would be a disappointing tenure with Atlantic Records.
The tracks that represent theTemptations return to Motown, while not approaching the memorable early songs, show a successful attempt to fit their vocal sound into the current urban-R&B market. This time, a song like 1998's "Stay" works as an update to the basic sound and spirit of "My Girl," and the anthology ends with "Lady," a track from their most recent album, "Awesome."
That's a word that describes the heights the Temptations have reached during the its extensive career.
© 2002 Honolulu Star-Bulletin
starbulletin.com
starbulletin.com/2002/04/19/features/story13.html
