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The Jackson 5 - Third Album

2009-05-31 - extension: rar - size: 33 MB

The Jackson 5 - Third Album

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Jackson 5 - Third Album - Maybe Tomorrow

2009-10-29 - extension: rar - size: 64 MB

Jackson 5 - Third Album - Maybe Tomorrow

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the jackson 5 - 03 - third album

2009-07-28 - extension: rar - size: 62 MB

the jackson 5 - 03 - third album

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michael jackson: studio 54: interview: molly meldrum (1977)
The Club was located in an old theatre and TV studio. In 1927, when the building was just built it (More) The Club was located in an old theatre and TV studio. In 1927, when the building was just built it was the home of the "San Carlo Opera Company". It was then followed by theatres like "the New Yorker", "Casino the Paris", "Federal Music Theatre" to finally in 1943 become a TV studio of Columbia Broadcasting Co. (CBS). CBS used the place as a soundstage for radio and television and from this studio successful shows like the Johnny Carson show, Beat the clock and $64000 question were broadcasted. The CBS people called the place Studio 52, since it was their 52'nd studio (and it was not called Studio 53 as stated by many sources'). Because of the premises former use as a TV studio the name for the new club was first meant to be just the Studio, but since it was used to be called Studio 52 by CBS and it was located in W. 54'th Street someone came up with the name Studio 54. The choice wasn't hard - this WAS the name!!! CBS Studio 52 ticket Steve Rubell and Ian Schrager Many people had been interested in turning the old theatre into a nightclub. But it wasn't until the two (to become) owners, Steve Rubell and Ian Schrager, saw the place something really happened. They loved the place at once and only a week after they first saw it they had signed the lease. Both Steve and Ian had been working in the nightclub business before they managed to hit it off big time with "the Studio". They had also been in the restaurant business for a long time and they currently owned a club in Queens, called the Enchanted Garden. In the Enchanted Garden Steve and Ian had a very talented DJ playing, a guy who is the pioneer DJ - Nicky Siano. Nicky started playing at Steve and Ian's club in 1976 and about two weeks before they opened up Studio 54 they hired Nicky as one of the new clubs two resident DJ's. The other resident DJ was a guy called Richie Kaczor. Steve and Ian also had a third partner, Jack Dushey, who was a professional retailer and in real estate. He was the new club's financial backer. Ian and Steve had first met Jack in early 1976 when he held his kids Bar Mitzvah in their club - Enchanted Garden. The guys had started talking and they told Jack they wanted to open up a club in Manhattan. Jack, as the real estate man he was, said he was interested in being part of that. When Rubell and Schrager had found the location they approached Dushey again and he gave the guys a couple of hundred thousand dollars and said; "Take the money and I'll get 50% of the net profit." Demolition and construction work took about a year and by the time Studio 54 opened, some $600'000 - $700'000 had been spent to get the place ready to party. For the Premier night of the Studio 54 the guys hired this girl and party promoter named Carmen D'Alessio to invite the "right" people for the grand opening. Steve and Ian had met her at their former partner Maurice Brahms' club Infinity. Carmen got the job as the new clubs PR manager and she had also been working with Steve and Ian earlier at the Enchanted Garden. Time went closer and closer to the opening night, some 5000 invitations were out and people were working day and night to get the place ready in time... Then in April 26, 1977 - THE day was there. People were still working in the club when some of the invited people started gathering outside the club. And about half an hour late the club opened up its doors for the first time. There weren't much people entering at this "early" hour, but within a couple of hours the place was crowded and outside the doors it was chaos. Even people with invitations couldn't get in! Studio 54 - Dance floor Studio 54 - Dance floor The club was huge, about 100 meters long and 80 meters wide, but it still had its theatrical feel, not only by the spectacular people who went there, but also because of the balcony and stage was still there. In the balcony there were sitting areas with tables and beneath the balcony was the huge parquet dance floor with all its strobe-lit columns that descended from the ceiling and its pumping music. Around the dance floor there were silver banquettes and the mirrored diamond-shaped main bar was located under the balconies, close to the dance floor. Studio 54 - the Rubber Room At the top of the club, in the 3rd floor, overlooking both the balcony and the huge dance floor was the infamous Rubber room. The room had a High-Tec bar and was designed with thick rubber on the walls to be easily washed down with water and soap after all the sex and drugs going on up there. Some people used to refer to the Rubber room as "Upstairs", but there were actually more secret places above the Rubber room were more private sex took place. Those areas were the real "Upstairs" to the initiated. In the ceiling above the dance floor there were cat walks for the maintenance of the lightning. It's said that the owners used to spend a great deal of time up there doing drugs and having sex above the heads of the hundreds of dancing people beneath. In the basement was the room not anyone could enter - the VIP room. I [Discoguy] got a chance to talk to Paolo Miranda, who started working as Busboy and later Head Busboy in the club in July of 1977 and was there for 2 years. Paolo, or Paul-Michael as he was called back then, fills me in on the VIP lounge... "I wouldn't really call it a VIP lounge, it was the basement. There were wire chain link fences all around with all the supplies for special decorations behind them. There was an Elton John pinball machine down there and a few white plastic lawn chairs. But I was down there all the time. Also there was the 2-year anniversary party down there, full of lots of celebrities." Studio 54 DJ - Richie Kaczor Richie Kaczor was the DJ playing this opening night and the first song he played was "Devil's gun" by C.J. & Co.. Richie was also the DJ playing in the weekends and Nicky Siano played the second night and in the weeknights. Nicky couldn't play weekends at "the Studio" since he owned his own popular New York club - the Gallery and was playing there in the weekends. It was also Nicky who played the night of the famous Bianca Jagger birthday bash in May 1977, in which she rode into the club on a white horse led by a naked body-painted guy. What's surprising is that while a DJ like Larry Levan was well-known among the crowd of the Paradise Garage, not many people knew the names of the resident DJ's of Studio 54. Paolo adds about the DJ's: "Richie Kaczor was THE DJ during the time I worked there. He was truly amazing. He would blend a song for a good 10 minutes. It was seamless. You would never know the song changed. Now a days, they blend for about 10 to 30 seconds and not very good. I got really spoiled at 54." Nicky worked at Studio 54 for about half a year, then he actually got fired because he preferred to spend hours in the bathroom getting high on drugs instead of getting high on playing records in the DJ booth. This Nicky told me himself when I got the chance to speak to him, but for the record I also wanna tell that he stopped taking drugs many many years ago. Nicky also had so many memories from the Studio that it would take a whole book to tell it all, but when he played the famous Birthday bash for Bianca Jagger was probably his most precious memory. That night was really a blast, he told me. He also told me a little about the owners of Studio 54, Steve and Ian. "Steve was straight when I met him...? Ian was always the level headed business man, and he was straight, all the time... I love them both, Steve and Ian were really good to me, and I will always consider them great supporters and friends." He thinks a little more and continues; "Yes, there was also this celebrity lounge at 54 that made Sodom and Gomorra look like kindergarten!" (the VIP lounge!) People hoping to get into Studio 54 The Studio also had it own door policy, they wanted to get a perfect mix of people which actually meant that even celebrities was stopped at the door and didn't get in. This young guy, Marc Benecke ruled the door and was instructed by Steve to mix a perfect salad every night. That way it didn't really matter if you were famous or not - you just had to fit it at this time. The doorman Marc even became more famous to the guests of the 54 than Ian Schrager. Steve was also often in the entrance selecting people to let in and it's said that Steve once didn't like the shirt a guy was wearing. He told the guy he wouldn't get in with that shirt on, the guy asked if he could get in if he took it off. Steve said yes and the guy took it off and was allowed to enter the club, bare-chested. So it was basically just a question of matching what Steve and Marc were looking for to add to their salad for the night. Some people tried desperately to get in and there's actually another true story about this guy who got stuck in the air duct in his attempt to enter the club - one way or another... I asked Paolo about the 'salad' door policy and as he says; "It's what made the club so popular. Working there meant I had no worries, and it made me feel special at the time." Not matching the 'salad of the day' was what happened to Nile Rodgers and Bernard Edwards of Chic, when the guys were contacted by Grace Jones who wanted to work with them for her next album... Grace invited them as her guests to her gig down at the Studio 54. It was New Years Eve in 1977, the guys were all dressed up and it was snowing and freezing cold... When Nile and Bernard got to the club the doormen couldn't find their names on the guest list. Nile and Bernard explained that they "were" Chic and that Grace was expecting them. But the doormen just wouldn't let them in... In anger they went back home to Nile and in just 25-30 minutes they wrote a whole song they called "Fuck off". It went like this... "aaahh Fuck off". They just know this was a hit song and they (of course) had to change the title to be able to release it. So they changed the text and that line to "aaahh Freak out" and their biggest hit was a fact - "Le Freak". The song topped the US charts for 6 weeks and "Le Freak" became Atlantic Records biggest selling single ever. It also became the 3'rd biggest single in the music history. It's still the most sold record ever in Canada and the single sold over 6 million copies only in the US. But after 6 million copies sold of the single, Nile and Bernard choose to stop the single to not have it cut down the album sales. Who knows how big it would have become if they hadn't stopped it!? But Nile and Bernard got their revenge... About one year later to this episode at Studio 54, everything related to the club and its name was a big industry and at this time Ian & Steve were credited as Executive Producers of this Casablanca Records double LP called A night at Studio 54. The top tune and first song out of this album was no less than - "Le Freak". Ian & Steve thanked their guests like this in the album; "To all our guests at Studio 54, whose energy made this record possible... Our sincere Thanks!" Beside the great Chic track the album included other great Disco songs regularly played in the club like; "I Love the Nightlife (Disco round)" (Alicia Bridges), "Let's All Chant" (Michael Zager Band), "Y.M.C.A" (Village People), "Last Dance" (Donna Summer), "I Love America" (Patrick Juvet), "Instant Replay" (Dan Hartman) and "(Push, push) In the Bush" (Musique). One fun detail to know about the Patrick Adams act Musique (with Jocelyn Brown on lead vocals) was that they shot their video for "(Push, Push) In the Bush", in the club. Paolo remembers the music played: "It's still the best dance music around; 'Last Dance', 'I love the Nightlife', 'Born to be Alive', 'Push, Push in the Bush', I could go on and on... What made the music so special was the light show that went with it. As the music became more alive, so did the light show." Now everybody can get into Studio 54 - Jeans Now everybody can get into Studio 54 - Jeans Another fun detail is that besides "Le Freak" which originally was a hate song of Studio 54, there were also many other songs mentioning or referring to this "Disco Mecca"... In Dennis Parker's "New York by night" he sings; "At Studio 54, they're waiting at the door, can't get in - just can't win... This is N.Y. by night, this is N.Y. by night so get ready for the time of your life...". Amanda Lear got famous for her song "Fashion Pack" in which she sings; "Hustling at the door to get into Studio 54... Liza dancing on the floor and Bianca walking through the door". Mick Jackson, writer of "Blame it on the boogie", wrote the song "54th Street" in which he sings about a club in Manhattan, USA where they are dancing in a Studio on 54th Street... As said before, everything related to the club and the Studio 54 name was a big industry. You could even buy yourself a pair of Studio 54 Jeans. The stitching on the back pockets, which every brand try to find its own unique one, even said 54 in the studio's logo style. Studio 54 logo by Gilbert Lesser Man in the moon with his silver spoon The name and the special Studio 54 logo became well-known in no time all over the world. The brilliant logo was designed by a guy named Gilbert Lesser. Almost as famous at the logo was this sign of the "Man in the Moon" inhaling cocaine (???) from his silver spoon that was hanging on the wall in the club. Unfortunately inhaling coke and using other drugs was quite common in the club, but this wasn't something special for Studio 54. At this time drug abuse was kind of common in all clubs. Drug use was like a lifestyle back then. Probably all the money and all the clubs famous and regular guests attracted people selling them. Some of the regular guests at Studio 54 were people like Andy Warhol, the designer Halston, Diana Ross, Liza Minelli and lots and lots of others. Other people seen at the club were; Elizabeth Taylor, Michael Jackson, Brooke Shields, Warren Beatty, Calvin Klein, Bianca & Mick Jagger, Salvador Dali, Madonna and Elton John. Not all of these famous people had to try to get in through the main entrance. No, there was actually a VIP entrance on the back side of the club, from 53'rd street. This was the entrance where the staff and the true VIP's got in. Studio 54 VIP ticket As so many Celeb's frequented the club, I had to ask Paolo, who actually had met most of them, if he had any comments on some of them. Paolo; "Every celebrity was extremely nice. All except Sylvester Stallone. He was on some sort of ego trip. He had body guards all around his banquet wearing bell bottom jeans with 'Rocky' embroidered on their ass. He didn't want to be bothered by anyone. Not even me, who was his busboy. He didn't want me in 'his' area cleaning up. Robin Williams was a hoot. I danced with Valerie Harper for half an hour, a sweet lady. Margaux Hemmingway gave me her plastic heart on Valentine's Day. She was there before the club opened and I got there late that night and there weren't any left. They were part of our costume that night so I had to have one, so she game me hers'. I saw a political daughter (I won't name names, but her family is mostly not around any more) wearing a white t-shirt and baseball cap, snorting cocaine. And I thought, if I had a camera right now, I'd make a million dollars selling the picture." Have you got any other special memories of some Celeb's? Paolo in 1979 "Elton John was there one Saturday night and tried to pick up Patrick Taylor, another busboy - who was straight, and I guess I was the next best thing. He asked me to go to his hotel with him, I said thank you as it was a Saturday night and only around 1am and told him I had to work all evening. About 5 minutes later, Michael Overington came over to me, tapped me on my shoulder and told me to go get my things because I was leaving with Elton John. I did and had a wonderful time. That's all I'll say about that evening. Liza Minelli cornered me in the employee dressing room and told me that one time she was in a limo going to do a concert at Madison Square Garden. She was drinking some champagne, and all of a sudden a disco version of 'Somewhere Over the Rainbow' came on the radio. She said it made her furious and threw the glass of champagne against the window between the front and back of the limo. She then said she realized how much the public loved her mother to contemporize the song, she burst into tears and cried all the way to the concert." Many celeb's kept coming back to '54' and in an interview, August Darnell, cofounder of Dr. Buzzard's Original Savannah Band and leader of Kid Creole and the Coconuts remembers: "We used to hang out at Studio 54 so much that we should have been paying rent. In England, now, they have all these rave parties, but when people say there's nothing like a rave, I say I saw all this in 1977 at Studio 54. I'd have to say my favorite club was Studio 54, it was so decadent and so exciting in that period to be part of something you knew was a world movement. The good thing was it gave people a reason to say 'Let's get dressed up and go out!'" Studio 54 DJ-booth Beside all the famous guests of the Studio 54, the club also managed to get all the best DJ's to play there as well. All of the famous DJ's like; John "Jellybean" Benitez, John Ceglia, Tony Humphries, Sharon White, Kenny Carpenter, Robbie Leslie, Tony Carrasco and many others, moved the crowd from the clubs legendary horseshoe shaped DJ-booth. One guy everyone think DJ'ed there, but who was actually never a DJ at all, but who's mixes were always played in the club, was the legendary remixer Tom Moulton. Studio 54 - Dancefloor from the DJ booth The club had a superb sound system, built and designed by some of the best people in the business - RLA [Richard Long & Associates]. Richard was also the one who was responsible for the sound system at the Paradise Garage, a system that still today is said to have been the best system ever in the world. Studio 54 DJ-console The equipment at Studio 54 were comprised of 6 3-way "Waldorf" horn loaded/bass reflex main bass boxes, 6 "Bertha/Levan" bass horns, 4 "Z" tweeter arrays & 2 "Ultima" 3-way full range boxes. This system also included the now famous RLA X-3000 DJ crossover. This sound system was the reason for this and many other clubs during this era's success. Richard is unfortunately no longer with us today, but some of the RLA designs, electronics and speaker boxes are available from the New York based company GSA [Gary Stewart Audio]. GSA can help you if you're interested in building a sound system similar to the one in '54'. Also, in the GSA shop they still have a bunch of things from the original Studio 54. By the way, the original "Man in the Moon" sign is told to be installed in the existing Studio 54 club in the MGM Grand in Las Vegas these days. Paolo (Paul-Michael) was hired as a Busboy by the clubs manager - Michael Overington. Here Paolo shares his memories from his years as an employee of Studio 54... What did you think of the club itself? "I thought it was amazing. Other than having my son, it was probably the most fun I had in life." Have you got any memories of club's owners? "Stevie was sweet and always had a Michelob in his hand. He always seemed a little bit drunk or Quaaluded out. Ian was the silent partner, not around much but I knew who he was. Jack Dushey, the financial backer, I had never heard of at the time. Another thing... When I started working there I went up to Stevie every night for two weeks and asked him if he knew my name. It took him two weeks to get it right. Then he thought that I would sleep with him because he remembered. I didn't." How many people were working in the bar? "I would say there were 4 bartenders at the main bar, a few bar-backs, 1 bartender up at the bar in the lounge. There were probably 5 to 6 busboys on a busy night. Less when it wasn't as crowded. There were 2 busgirls upstairs in the balcony when I started and they were there for a while. After a while they put in another bar on the right side of the dance floor, so there was 1 bartender there as well." Do you recall how many people were working the club at a busy night, all areas? "Yes, there were lots more employees. 2 coat check girls, 1 light man, 1 to 2 people working the pulleys at the back of the dance floor. The front half of the dance floor lights were electronic, in the back, such as the moon and the spoon, light poles, etc., were moved up and down on pulley's by 1 to 2 guys. Mark B and Stevie were up front at the door as well as probably 4 to 6 bouncers." Paolo dancing with a Lady in Red How many guests were there in a crowded night? "I could only guess on the number of people in the club on a busy night... I'd say around 500, this is only a guess, could be more, could be less. On a Friday and Saturday night there were probably also around 500 people outside trying to get in. I do know that if you didn't get picked by the time you walked up to the ropes you probably did not get it. I would see people walking up to the ropes and when Stevie and/or Mark looked away, they would stop and walk in place until they looked over again and then continue up to the ropes in the hope of getting in." Were most of the employees gay, as you told earlier that Elton tried to pick up a straight busboy? "Most of the employees were gay. There were a few straight boys mixed in." So, were there many people trying to pick you up? "Yes, all the time. The busboys were looked upon as like 'playboy bunnies'. Everyone was always trying to bed us." The Balcony has become legendary through the '54' movie, any comments on what went on in the balcony? "Not much went on it the balcony that I was aware of, some making out and a bit more but it was nothing like the movie." You must have lots of other memories and stories from the club, anything else you can tell about? "Well one morning as I was leaving the club, Saturday morning after a Friday night, and as I left through the back door I opened it and Ian was coming from the right with a 3-ring binder under his arm, and from the left were 2 men in suits and trench coats. I let them in, closed the door and went home. Ian had a lot of cocaine and drugs for that Saturday night, he put the binder down on the speaker near the back door thinking that both the FBI agents would follow him upstairs to look at the books. Only one went with him. The other stayed down stairs and sat on one of the banquettes at the back of the dance floor. The guy got bored and started flipping through the binder and found the drugs... And the rest is history." Have you got any contact with any of your former colleagues at '54'? "I found a website where Sandt Litchfield was listed with some friends, and I tried to contact him but never heard back. Mark Beneke seems to be Ian's eyes and years at the Clift Hotel here in San Francisco. I spoke to him and of course he didn't remember me. He was hot stuff back then and I was just a peon. I am also in contact with one of the busboy's Jeffrey, he's here in San Francisco as well." Download the FREE basic RealPlayer... CLICK to hear some Studio 54 classics... 54th Street Mick Jackson Bad girls Donna Summer the Boss Diana Ross Dance, dance, dance Chic Disco night (Rock freak) G.Q. Don't leave me this way Thelma Houston Everybody dance Chic Fly Robin Fly Silver Convention Good times Chic Haven't stopped dancing yet Gonzalez He's the greatest dancer Sister Sledge Heart of glass Blondie Hot stuff Donna Summer I got my mind made up Instant Funk I love America Patrick Juvet I love the nightlife (Disco Round) Alicia Bridges I will survive Gloria Gaynor I'm coming out Diana Ross If you could read my mind Viola Wills (Push push) In the bush Musique Instant replay Dan Hartman Keep on dancin' Gary's Gang Keep on jumpin' Musique Knock on wood Amii Stewart Last dance Donna Summer Le Freak Chic Let's all chant Michael Zager Band Move on up Destination Native New Yorker Odyssey New York by night Dennis Parker Que sera mi vida Gibson Brothers Relight my fire Dan Hartman Spank Jimmy "Bo" Horne Take your time (Do it right) S.O.S Band Turn the beat around Vicki Sue Robinson Upside down Diana Ross Vertigo Dan Hartman We are family Sister Sledge Y.M.C.A Village People You make me feel (Mighty real) Sylvester 54 - Soundtrack Volume 1 Volume 1 Click to buy from BUY the 54 Soundtrack CD 1 from the US BUY the 54 Soundtrack CD 1 from Europe 54 - Soundtrack Volume 2 Volume 2 Click to buy from BUY the 54 Soundtrack CD 2 from the US BUY the 54 Soundtrack CD 2 from Europe Volume 1 Studio 54 - The 54 Allstars Keep on dancin' - Gary's Gang the Boss - Diana Ross Dance dance dance "Yowsah yowsah yowsah" - Chic Vertigo / Relight my fire - Dan Hartman You make me feel "Mighty real" - Sylvester Move on up - Destination Love machine (Pt.2) - the Miracles Contact - Edwin Starr Knock on wood - Mary Griffin Let's start the dance - Bohannon I got my mind made up - Instant Funk Young hearts run free - Candi Staton Native New Yorker - Odyssey Que sera mi vida - Gibson Brothers Wishing on a star - Rose Royce Volume 2 If you could read my mind - Stars on 54: Ultra Nat (Less)

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The Temptations
The Temptations (often abbreviated as "The Tempts" or "The Temps") are an (More) The Temptations (often abbreviated as "The Tempts" or "The Temps") are an American Motown singing group whose repertoire has included doo-wop, soul, psychedelia, funk, disco, R&B, and adult contemporary. Formed in Detroit, Michigan in 1960 as The Elgins, the Temptations have always featured five African American male vocalists/dancers. The group, known for its recognizable choreography, distinct harmonies, and onstage suits, has been said to be as influential to soul as the Beatles are to rock.[1] Having sold an estimated 22 million albums by 1982,[2] The Temptations are one of the most successful groups in music history[3] and were the definitive male vocal group of the 1960s.[4] In addition, they have the second-longest tenure on Motown (behind Stevie Wonder), as they were with the label for a total of 40 years: 16 years from 1961 to 1977, and 24 more from 1980 to 2004 (from 1977 to 1980, they were signed to Atlantic Records). As of 2007, the Temptations continue to perform and record for Universal Records with only one original member, founder Otis Williams, in its lineup. The original group included members of two local Detroit vocal groups: The Distants, which featured second tenor/baritone Otis Williams, first tenor Elbridge "Al" Bryant and bass Melvin Franklin; and first tenor/falsetto Eddie Kendricks and second tenor/baritone Paul Williams (no relation to Otis) from The Primes. Among the most notable future Temptations were lead singers David Ruffin and Dennis Edwards (both of whom became successful Motown solo artists after leaving the group), Richard Street (another former Distant), Damon Harris, Ron Tyson, Ali-Ollie Woodson, Theo Peoples, and G.C. Cameron. Like its sister female group, the Supremes, the Temptations' lineup has changed frequently over the years. Over the course of their career, the Temptations have released four Billboard Hot 100 number-one singles and 14 Billboard R&B number-one singles. Their material has earned them three Grammy Awards, while two more awards were conferred upon the songwriters and producers who crafted their 1972 hit "Papa Was a Rollin' Stone". History The Primes Childhood friends Eddie Kendricks, Paul Williams, Kel Osbourne, and Wiley Waller formed a doo-wop group called the Cavaliers in their hometown of Birmingham, Alabama, in 1955.[5] Reduced to a trio after Waller left the group in 1957, Kendricks, Williams, and Osbourne left Birmingham in order to break into the music business. After first moving to Cleveland, they settled in Detroit. The Primes, as the doo-wop trio was now called, were well-known around Detroit for their meticulous performances.[6] Group manager Milton Jenkins even created a sister group for the Primes called the Primettes, recruiting Florence Ballard, Mary Wilson, Diane (later Diana) Ross, and Betty McGlown for the spin-off act.[5] The Distants Otis Williams had moved from his native Texarkana, Texas to Detroit as a young boy, to live with his mother.[7] By 1958, he was the leader of Otis Williams & the Siberians, a doo-wop group that included Williams, his friend Elbridge "Al" Bryant, James "Pee-Wee" Crawford, Vernard Plain, and Arthur Walton.[8] This quintet recorded the single "Pecos Kid" backed with "All of My Life" for a label run by local radio deejay Senator Bristol Bryant.[8] The single never took off outside the local Detroit market, and the Siberians changed their name to The El Domingoes shortly afterward.[5] At this time, more changes took place. Montgomery, Alabama native Melvin Franklin replaced Arthur Walton as the bass singer, and Franklin's cousin Richard Street replaced Vernard Plain as lead singer.[9] The group soon signed with Northern Records, run by Johnnie Mae Matthews, who renamed the group The Distants. The Distants recorded two singles for Northern, "Come On" (1959, featuring additional background vocals by the Andantes), and "Alright" (1960).[9] Between these two releases, Albert "Mooch" Harrell replaced Pee-Wee Crawford.[9] "Come On" was a local hit for the Distants, and the Warwick label picked the record up for national distribution.[9] After the release of "Alright", Matthews appointed Williams the group leader, and the group was renamed Otis Williams & the Distants.[10] [edit] Influences and colleagues The Primes and the Distants were but two of dozens of local male vocal acts, the most famous of which was the Miracles, led by Smokey Robinson. The Miracles were known for their stage show, and their pop success was something for which both groups strived.[11] Other important inspirations included the Cadillacs, Frankie Lymon & the Teenagers, the Drifters, and the Isley Brothers.[12] The various members of The Primes and the Distants who would later become part of the Temptations met a number of their later Motown bandmates, labelmates, and producers during the early part of their careers. Melvin Franklin had been a member of the recording group the Voice Masters, which also included among its ranks Lamont Dozier and David Ruffin.[9] The musicians at the recording session for the Distants' "Come On" included James Jamerson on bass; the Andantes on background vocals; and Norman Whitfield on tambourine.[9] A promotional image of the original early 1960s Temptations lineup. Clockwise from top right: Otis Williams, Paul Williams, Melvin Franklin, Eddie Kendricks, and Elbridge "Al" Bryant. [edit] Forming the Temptations Although "Come On" was a local success in the Detroit area, the Distants never saw much of their share from the record sales, and the second single was not as successful. After receiving an offer from Berry Gordy of Motown Records, the group got out of its contract with Matthews and left Northern. At the same time, it lost Mooch Harrell, Richard Street, and the rights to use its name. Street would front a new group of Distants for the local Thelma label during the early 1960s. The Distants were acquainted with the Primes, as both groups made the same rounds to local record hops, talent shows, and concerts. The two groups were friendly rivals. The Primes disbanded in 1960 when Kel Osbourne moved to California, and Eddie Kendricks and Paul Williams returned to Alabama. While in Detroit visiting relatives, Kendricks called Otis Williams who, needing two more members for an audition for Gordy, offered Kendricks a place in the Distants. Kendricks agreed, with one condition -- that he could bring Paul Williams with him. Otis Williams agreed, and Kendricks and Paul Williams moved back to Detroit to join the group. The new lineup of Otis Williams, Franklin, Bryant, Kendricks, and Paul Williams took on the name The Elgins and auditioned for Motown in March 1961. Gordy agreed to sign the group to his Miracle Records imprint, but discovered just before signing that there was already a singing group called the Elgins. The quintet quickly began tossing about ideas for a new name on the steps of Motown's Hitsville U.S.A. headquarters. On a suggestion from Miracle Records employee Billy Mitchell and Otis Williams, The Temptations became the group's new moniker. The "Elgins" name would re-surface at Motown in 1965, when Gordy renamed a quartet called The Downbeats as The Elgins. The Temptations released two singles on Miracle, "Oh Mother of Mine" and "Check Yourself", before it was closed and merged with the Gordy label (to avoid confusion with the Miracles singing group). All seven of the Temptations' singles released between 1961 and 1963 failed to make it onto the U.S. pop singles charts; the 1962 single "Dream Come True" made it to number 22 on the R&B chart. Paul Williams and Kendricks split most of the leads during this period, with Bryant, Otis Williams, and Franklin occasionally singing lead. Many songwriter and producer teams had been trying to craft a hit for the Temptations, including Berry Gordy, Mickey Stevenson, Clarence Paul, and Norman Whitfield. Gordy had in fact written the song "Do You Love Me" for The Temptations in 1961, but when he was unable to get ahold of the group, he recorded the song with the Contours instead. Miracles lead singer/songwriter/producer Smokey Robinson produced his first Temptations single, the Paul Williams-led "I Want a Love I Can See", in 1963, and proved to have the best rapport with the group. Elbridge Bryant, who preferred his day job as a milkman to performing, soon became restless and uncooperative. After a performance at the 1963 Motown company Christmas party, Bryant was fired from the group. His replacement was Meridian, Mississippi native David Ruffin, younger brother of Motown artist Jimmy Ruffin. Though both Ruffin brothers were considered, David was given an edge over Jimmy thanks to his performance skills, which David displayed when he joined the Temptations on-stage during a local Detroit performance earlier that year.[13] The "Classic Five" lineup of the Temptations, circa 1965. Left to right: Melvin Franklin, Eddie Kendricks, Otis Williams, Paul Williams, and David Ruffin. The "Classic Five" era In January 1964,Miracles members Smokey Robinson and Bobby Rogers co-wrote and produced "The Way You Do the Things You Do" with Kendricks on lead; the single became the Temptations' first Top 20 hit that April. While traveling as part of Motown's Motortown Revue later that year, Robinson and fellow Miracle Ronnie White wrote a song for the emotive Ruffin to sing lead on, which the group recorded in the fall of 1964. Released as a single on December 24, 1964, "My Girl", became the Temptations' first number-one pop hit in March 1965, and is their signature song to this day. David Ruffin's emergence as lead singer gave way to the Temptations' most successful period, today referred to as the "Classic Five" era, during which Ruffin, Kendricks, Franklin, Otis Williams, and Paul Williams recorded many of the group's most familiar hits. After the success of "My Girl", Ruffin sang lead on the next three Temptations singles: "It's Growing", "Since I Lost My Baby" and "My Baby", all of which made it to the Top 20 in 1965. The b-side to "My Baby", "Dont Look Back", featured a lead from Paul Williams, and was a sleeper hit on the R&B charts. In 1966, Norman Whitfield became the Temptations' new main producer, after his "Ain't Too Proud to Beg" performed better than Robinson's "Get Ready" on the U.S. pop charts. Whitfield began pushing the group away from Robinson's ballad-based production towards a harder-edged and brass-heavy soul sound reminiscent of the work of James Brown. Nearly all of the pre-1968 Whitfield-produced Temptations singles featured David Ruffin on lead vocals, including the R&B number-one/pop Top 10 hits "Beauty Is Only Skin Deep" and "(I Know) I'm Losing You". Other singles from this period included "You're My Everything", on which Eddie Kendricks and David Ruffin share lead vocals, and "All I Need", produced by Whitfield's protg Frank Wilson. Whitfield's writing partners during this period included Roger Penzabene, Temptations road show manager/guitarist Cornelius Grant, and Edward Holland, Jr.. After Eddie Holland left Motown with the rest of the Holland-Dozier-Holland songwriting/production team in 1967, Barrett Strong (who sang Motown's first hit, 1960's "Money (That's What I Want)") began working with Whitfield and Penzabene on Temptations material. Two of Whitfield/Strong/Penzabene's collaborations, "I Wish It Would Rain" and "I Could Never Love Another (After Loving You)", became hits in 1968. Strong became Whitfield's sole collaborator after Penzabene's suicide in December 1967. Exit David Ruffin Between 1964 and 1968, the Temptations went from unknown hopefuls to international stars. The group appeared frequently on television shows such as American Bandstand and The Ed Sullivan Show, and catered to middle America with a pop standards album (The Temptations in a Mellow Mood, 1967) and performances at the Copacabana in New York City and other such supper clubs. Outside of music, the Temptations were made honorary members of Phi Beta Sigma Fraternity, Inc. Initially laid back and even-keeled, by 1967 David Ruffin felt that he was almost single-handedly responsible for the group's success. He demanded special treatment, riding to and from gigs in a private mink-lined limousine with his then-girlfriend, singer Tammi Terrell (known for her duets with Marvin Gaye), instead of in the group limousine the other four Temptations used. Ruffin missed a number of rehearsals, concerts, and group meetings; and began regularly using cocaine. After seeing how Motown had made Diana Ross the focus of the Supremes by renaming the group Diana Ross & the Supremes, Ruffin demanded that his group be renamed, as well -- to David Ruffin & the Temptations. Additionally, Ruffin was demanding an accounting of the Temptations' earnings, which caused friction between him and Berry Gordy. There was general agreement among the rest of group that Ruffin needed to be replaced. Otis Williams insists that Ruffin was given fair warning that if he did not change his attitude he would be fired. When Ruffin missed a June 1968 engagement at a Cleveland supper club in order to attend a show by his new girlfriend (Dean Martin's daughter Gail), it was decided that he had crossed the line. The other four Temptations drew up legal documentation firing Ruffin from the group, and Dennis Edwards, formerly of the Contours, was hired to replace him. Edwards and Ruffin were good friends, and Ruffin at first went along with the changing of the guard. After a short time, however, Ruffin began turning up at Temptations shows, jumping onstage during performances of the songs he once sang lead on and stealing the spotlight. The audiences were delighted, but the Temptations and Motown were frustrated and embarrassed. Extra security guards were hired to prevent Ruffin from attending other Temptations' performances. Ruffin sued Motown in October 1968, seeking a release from the label, and Motown settled by offering Ruffin a solo recording deal. Beginning in 1968, Berry Gordy commissioned a number of collaborations for the Temptations with Diana Ross & the Supremes. The results included a joint tour, two studio albums (Diana Ross & the Supremes Join the Temptations, which featured the number-two hit single "I'm Gonna Make You Love Me", and Together), and two NBC television specials, TCB (aired December 9, 1968) and G.I.T. on Broadway (aired November 12, 1969). The tracks for Diana Ross & the Supremes Join the Temptations included Dennis Edwards' first studio recordings with the Temptations. Psychedelic soul Dennis Edwards' addition to the Temptations coincided with producer Norman Whitfield's adoption of a new sound for the group. In the fall of 1968, Whitfield began producing psychedelic-based material for the Temptations, derived primarily from the sound of funk band Sly & the Family Stone. This new style, which debuted with the Top 10 hit single "Cloud Nine" in October 1968, was a marked departure from the David Ruffin-era ballads. The instrumentation was funkier, the beat was hard-driving, and all five Temptations traded lead vocals, similar to Sly & the Family Stone. "Cloud Nine", the centerpiece of the group's landmark Cloud Nine LP, was a Top 10 hit and won Motown its first Grammy Award, for Best R&B Vocal Group Performance of 1969. The blending of the Motown sound and psychedelic rock sound resulted in a new subgenre of music called "psychedelic soul", also evident in the work of Diana Ross and the Supremes ("Reflections", "Love Child"), Marvin Gaye's version of "I Heard It Through the Grapevine", and the music of the Fifth Dimension and War. More Temptations psychedelic soul singles would follow in 1969 and 1970, among them "Runaway Child, Running Wild" (a number-one R&B hit), "I Can't Get Next to You" (a number-one pop hit), "Psychedelic Shack" , "Ball of Confusion (That's What the World Is Today)", and "Ungena Za Ulimwengu (Unite the World)". Exit Eddie Kendricks and Paul Williams During the late-1960s, Paul Williams' physical and mental health began to decline sharply. Williams suffered from both depression and sickle-cell disease, and also developed alcoholism, all of which made it hard for him to continue performing. Oxygen tanks were kept in the wings of performance venue stages for Williams, and the other four Temptations made valiant efforts to raid and drain his alcohol stashes. By 1969, former Distant Richard Street, now lead singer of Motown act The Monitors, was touring with the group as a backup replacement for Williams. For most shows, Street would sing Williams' parts (save for his solo numbers) from offstage behind a curtain, while Williams danced and lip-synched onstage. At other shows, and during most of the second half of 1970, Street took Williams' place onstage. As Paul Williams' health failed, Eddie Kendricks became detached from the group. He regularly picked fights with Otis Williams and Melvin Franklin over the group's leadership. In addition, Kendricks was uncomfortable with the psychedelic soul material the group was now performing, preferring the ballad material from the earlier days. Kendricks rekindled his friendship with David Ruffin, who persuaded him to quit the Temptations and go solo. After another confrontation between himself, Otis Williams, and Franklin during a November 1970 Copacabana engagement, Kendricks walked out in-between shows and did not return. Both Franklin and Otis Williams agreed at this time that Kendricks would be leaving the group. Before Kendricks officially left the Temptations, he and Paul Williams recorded the lead vocals for "Just My Imagination (Running Away with Me)", a lush, wistful ballad that became Kendricks' Temptations swan song. Released as a single in January 1971, "Just My Imagination" began steadily climbing the U.S. pop singles chart. By the time "Just My Imagination" hit number-one in March, Kendricks had negotiated his release from the group and signed a solo deal with Motown's Tamla imprint. Kendricks' original replacement was Ricky Owens, from the Los Angeles-based vocal group the Vibrations. However, Owens gave poorly-received performances during the few shows he performed with the group, and he was dropped after only a few weeks. During most of the spring of 1971, the Temptations remained a quartet, and re-recorded the single "It's Summer" without a fifth member. In April, Paul Williams quit the Temptations, after a medical declaration that he was unable to continue performing. Richard Street officially took his place, while Williams remained on the group's payroll as an advisor and choreographer. After Williams had recovered enough to perform again, Motown made plans for a Paul Williams solo career, but he died at age 34 in Detroit on August 17, 1973. Williams' death was ruled a suicide. The Temptations in the early 1970s By May, The Temptations had found a permanent replacement first tenor in twenty-year-old Baltimore native Damon Harris. Otis Williams, Edwards, Franklin, Street, and Harris continued recording and performing, and Norman Whitfield continued producing hits for them. Among these were Top 40 hits such as "Superstar (Remember How You Got Where You Are)" (1971), a message from the Temptations to the estranged David Ruffin and Eddie Kendricks, and "Take a Look Around" (1972). The fall of 1972 saw the release of Whitfield's magnum opus, "Papa Was a Rollin' Stone". Originally a three-minute record written and produced for the Undisputed Truth, Whitfield took the sombre tune and created a sprawling, dramatic eleven and -minute version for the Temptations. An edited seven-minute version was released as a single in September 1972, hitting number-one on the pop charts and number-five on the R&B charts. In 1973, "Papa Was a Rollin' Stone" won the Temptations their second Grammy for Best R&B Performance by a Group. Whitfield and arranger/conductor Paul Riser won the award for Best R&B Instrumental Performance with the instrumental version of "Papa" on the single's b-side, and Whitfield and Barrett Strong won the songwriters' Grammy for Best R&B Song. After "Papa Was a Rollin' Stone", Whitfield stopped working with Barrett Strong, and began writing the Temptations' material on his own. The success of "Papa" led Whitfield to create more elongated, operatic pieces, including the Top 40 hit "Masterpiece" (1973) and several of the tracks on the resulting Masterpiece album. Tensions developed between Whitfield and the group, who found Whitfield arrogant and difficult to work with. The group cited his habitual tardiness, his emphasis of the instrumental tracks over the vocals on many of his productions, and the declining singles and albums sales as other sources of conflict. Otis Williams complained about Whitfield's actions and the Temptations' stagnant sales to Berry Gordy, who intervened and reassigned them to Jeffrey Bowen, co-producer of the 1967 In a Mellow Mood album. The final Norman Whitfield-produced Temptations album, 1990, was released in late 1973, and included the Top 30 single "Let Your Hair Down". Whitfield left Motown shortly afterwards, and in 1975 established Whitfield Records, taking with him the Undisputed Truth, Willie Hutch, and Rose Royce, who performed the instrumental track for "Let Your Hair Down". Dry spell Bowen's first LP with the Temptations was January 1975's A Song for You, which included a cover of the titular Leon Russell tune (popularized with soul audiences by Donny Hathaway), along with the pop Top 40/R&B number-one hits "Happy People" (featuring the Commodores as the instrumentalists) and "Shakey Ground" (featuring instrumentation by Funkadelic's Eddie Hazel and Billy Bass Nelson), and "Glasshouse", the group's final Top 40 Pop hit. Damon Harris was fired from the group during the recording of A Song for You, as his behavior and work ethic were deemed unprofessional.[14] His replacement was Washington, D.C. native Glenn Leonard, formerly of the Unifics.[15] A number of producers, including Bowen, Brian Holland, James Carmichael, and even the Temptations themselves tried producing hits for the next three LPs, House Party (November 1975), Wings of Love (March 1976), and The Temptations Do the Temptations (August 1976). None of these recordings were as commercially successful as A Song for You, and none of their singles entered the Billboard Hot 100 Top 40.[16] As time progressed, Bowen pushed Dennis Edwards further to the front. This was evident in on Wings of Love, which features Edwards' voice more prominently than the other Temptations' backing vocals.[17] Otis Williams felt that this was hurting the group, and after The Temptations Do the Temptations was recorded in 1976, Edwards was fired from the group.[18] His replacement was Louis Price. The Temptations left Motown for Atlantic Records, citing Motown's inattention as the reason for their declining sales and popularity.[19] However, the group's releases on Atlantic -- Hear to Tempt You (1977), Bare Back (1978), and their associated singles -- failed to perform better than their last handful of Motown singles, and in 1979 Atlantic released the group from its contract.[17] Shortly afterwards, the Temptations met with Smokey Robinson and Berry Gordy, and the group re-signed with Motown in 1980.[20] ] Return to Motown and Reunion Upon the return to Motown, Louis Price departed from the group and joined the Drifters. Dennis Edwards, who had been inactive for the previous three years despite remaining with Motown as a solo act, returned to the lineup. Berry Gordy co-wrote and produced the Temptations' first single under the new contract, "Power", from the album of the same name. "Power" missed the Billboard Hot 100 Top 40, but hit number 11 on the R&B charts. Two years of underperforming singles and albums followed, including an eponymous album with Philadelphia-based producer Thom Bell, until Motown began planning a Temptations reunion tour in 1982. Eddie Kendricks and David Ruffin agreed to rejoin the group for the Reunion album and tour. Melvin Franklin's nephew, Motown funk star Rick James (who had previously used the Temptations as backup vocalists on his 1981 hit "Super Freak"), wrote, produced, and guested on the Reunion album's lead single, "Standing on the Top", which featured Ruffin, Kendricks, and Edwards on lead. The single went to number-six on the R&B charts. While the ensuing Reunion tour with all seven Temptations (Ruffin, Kendricks, Otis Williams, Franklin, Edwards, Richard Street, and Glenn Leonard) was financially successful, it ended up being a stressful venture: Kendricks' voice had weakened after decades of chain smoking, and Ruffin, still addicted to drugs, missed a number of the performances. At the conclusion of the Reunion tour, Ruffin and Kendricks were fired, and they began touring and performing together as a duo. One more album, Surface Thrills, was released in 1983. It featured a sharp departure in the group's sound by incorporating elements of then-current rock. Following its release, Glenn Leonard left and was replaced by Ron Tyson. Tyson had been a songwriter at Atlantic during the Temptations' time there, and co-wrote several songs on the album Hear To Tempt You. [edit] From the 1980s to the 1990s By this time, the Temptations' releases were no longer performing well on the pop charts, though they sometimes made the R&B Top 20. "Love on My Mind Tonight", a single from Surface Thrills, made it to number 17. "Sail Away", produced by a returning Norman Whitfield and featuring Ron Tyson's first lead vocal, peaked at number 13. Dennis Edwards was again fired in 1984, this time for missing rehearsals, or showing up hungover. He attempted a second solo career, and his place was taken by Ali-Ollie Woodson, who had been a potential candidate to replace Edwards back in 1977. The album Back to Basics was released; it was the first album featuring Ron Tyson, and featured one track with Woodson, "Stop the World Right Here (I Wanna Get Off)". Woodson's first lead on a single was 1984's "Treat Her Like a Lady", co-written by himself and Otis Williams, and co-produced by Al McKay and Ralph Johnson, formerly of Earth, Wind and Fire. The single became their biggest success on R&B radio in some time, reaching number-two on the R&B charts, and just missing the Pop Top 40. The group experienced similar success the following year with the single "Lady Soul", another Top 5 R&B smash. On July 13th 1985, Eddie Kendricks and David Ruffin would achieve "World comeback" recognition for their performances with Pop/Rock superstars Daryl Hall and John Oates(Hall and Oates) in a performance given at the "Live Aid" concert in Philadelphia televised world wide. The segment with Kendricks and Ruffin included a Medley of "Get ready/The way you do the things you do/My Girl. The combination of Hall, Oates, Ruffin and Kendricks went on to perform the resurrected Hall and Oates hit (made popular by the English artist Paul Young), "Every time you go away". This was the exact performance the singing quartet had just recorded live in a sold out performance for the "reopening" of the historic Apollo Theater. The medley recorded on "Live at the Apollo" for RCA, became a top 20 hit on the pop charts. Ollie Woodson remained with the Temptations until 1987, when he was fired and replaced by an again-returning Dennis Edwards. The group recorded one album during Edwards' third tenure, Together Again, released in late 1987. The following year, Otis Williams published his autobiography, Temptations, co-written with Patricia Romanowski, chronicling the careers of the group from the Primes/Distants days to the present, and focusing on the lives of Williams and Melvin Franklin. An updated version of the book was published in 2002. Edwards was fired for the third and final time in late 1989, with Woodson re-joining the lineup. Also that year, the Temptations were inducted into the Rock and Roll Hall of Fame, honoring Edwards, Franklin, Otis Williams, David Ruffin, Eddie Kendricks (now performing as "Eddie Kendrick"), and, posthumously, Paul Williams. Most of the Temptations, present and former, showed no ill feelings towards each other, although Otis Williams reported that Kendricks would not speak to him during the ceremony. [21] The Temptations ended their induction with Paul Willaims' signature song, "Don't Look Back", dedicated to his memory. After reuniting at the induction ceremony, Edwards, Ruffin, and Kendrick made plans to tour and record as "Ruffin/Kendrick/Edwards, Former Leads of The Temptations". The tour was carried out, much to the chagrin of Otis Williams and Motown, but production on an album was terminated when Ruffin, age 50, died on June 1, 1991 in Philadelphia after a drug overdose. Kendrick was diagnosed with lung cancer but continued to perform; he died on October 5, 1992 at the age of 52, in his native Birmingham. The Temptations in the 1990s From the 1990s on, the Temptations' lineup began to change more frequently than before. Richard Street missed a performance in 1992 after undergoing emergency surgery to remove kidney stones. Otis Williams was not aware of Street's surgery, and called him, angry about Street's absence. Street felt Williams was unsympathetic, and as a result, he left the group in 1993 after twenty-two years. His replacement was St. Louis native Theo Peoples. Two years later, Melvin Franklin was forced to stop performing because of failing health. He died on February 23, 1995 at the age of 52, after suffering a brain seizure. Ray Davis from Parliament/Funkadelic came on as new bass, and the group recorded the pop standards album For Lovers Only, which contained two tracks led by Melvin Franklin. Davis left shortly after completing the album, due to a throat cancer diagnosis. The group continued as a quartet for a short time, before recruiting bass Harry McGilberry, a former member of The Futures. For Lovers Only would also be the last for lead Ali-Ollie Woodson; he was released from the group in 1996 due to health problems, having suffered two battles with throat cancer. He was replaced by his fill-in from his first health concern, new member Terry Weeks. The new Temptations lineup, consisting of Otis Williams, Ron Tyson, Theo Peoples, and newcomers Harry McGilberry and Terry Weeks, debuted at the halftime show of Super Bowl XXXII, which celebrated the 40th anniversary of Motown. In 1998, The Temptations released Phoenix Rising, their first million-selling album in over twenty years. The album was anchored by the Theo Peoples-led single "Stay", a number-one hit on the adult contemporary charts that featured a sample from The Temptations' "My Girl". During the recording of Phoenix Rising, however, Theo Peoples departed, and was replaced by Barrington "Bo" Henderson. The completed album features both Henderson and Peoples (who later joined the Four Tops) on different tracks. A scene from the 1998 Temptations NBC miniseries. The Temptations mini-series Main entry: The Temptations (miniseries). Nineteen ninety-eight also saw the debut of The Temptations, a four-hour television miniseries based on Otis Williams' Temptations autobiography. It was broadcast in two parts on NBC on November 1 and November 2, 1998. The miniseries was a ratings success and won an Emmy award for Best Direction; it was subsequently rerun on the VH-1 cable television network and released to VHS and DVD. Otis Williams' former wife Josephine, Melvin Franklin's mother Rose Franklin, and David Ruffin's family, jointly filed a lawsuit against Williams, Motown, de Passe Entertainment, Hallmark Entertainment, and NBC for a number of charges, including defamations of character. The judges ruled in favor of the defendants, and the ruling was upheld when the plaintiffs appealed in 2001. Williams later claimed that, although his book was used as the source material for the film, he did not have a great deal of control over how the material was presented. From 2000 to the present day The Temptations were inducted into the Vocal Group Hall of Fame in 1999. In 2001, their 2000 album Ear-Resistible won the group its third Grammy, this one for Best Traditional R&B Vocal Performance. Three classic Temptations songs, "My Girl", "Ain't Too Proud to Beg", and "Papa Was a Rollin' Stone", are among The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll. Bo Henderson was fired from the group in 2003, prompting a wrongful termination lawsuit [22]. His replacement was former Spinners lead G.C. Cameron. The lineup of Cameron, Otis Williams, Ron Tyson, Harry McGilberry, and Terry Weeks recorded for a short time before Harry McGilberry was dismissed;[23] his replacement was former Spaniels bass Joe Herndon. McGilberry died on April 3, 2006, at age 56. The group's final Motown album, Legacy, was released in 2004. Later that year, The Temptations asked to be released from their Motown contract, and moved to another Universal Motown Records Group label, New Door Records. Their latest album, Reflections, was released on January 31, 2006, and contains covers of several popular Motown songs, including Diana Ross & the Supremes' "Reflections", the Miracles' "Ooo Baby Baby", Marvin Gaye and Tammi Terrell's "Ain't Nothing Like the Real Thing", and the Jackson 5's "I'll Be There".[24] The Temptations were nominated for the 2007 Grammy Award for Best Traditional R&B Vocal Performance, for their version of Gaye's "How Sweet It Is (To Be Loved by You)" from Reflections. G.C. Cameron left the group in June of 2007 to focus on his solo career.[25]. The current lineup is Otis Williams, Ron Tyson, Terry Weeks, Joe Herndon, and new member Bruce Williamson. Splinter groups Several former Temptations continue to perform outside of the group in spin-off or offshoot acts. The most well known splinter was "Ruffin/Kendrick/Edwards: Former Leads of the Temptations", which featured the three former Temptations and three other members (David Sea, who'd been a consideration to replace Edwards in 1984, Nate Evans, a former member of The Impressions, and a female vocalist). Following David Ruffin's death, Dennis Edwards and Eddie Kendrick began touring as "The Temptations", still with David Sea and Nate Evans, and bringing in another former Temptation, Damon Harris. The group had different sixth vocalists at different times, including Charles Blackmon and Curtis Taylor.[26] This prompted a legal battle with Otis Williams. Following Kendrick's death, the group splintered: Dennis formed "Dennis Edwards and the Temptations Review," Damon formed "Damon Harris and the Temptations Review" (featuring future Temptation Joe Herndon), David Sea went on to a solo career[27], and Evans and Taylor formed a Temptations tribute band[28]. Dennis Edwards' group tours to this day. The group has appeared on several PBS music specials. The lineup is Edwards, David Sea (baritone, returning in 1999), Mike Patillo (bass since 1993), Chris Arnold (first tenor/falsetto, joined post-2000)[29], and another former Temptation, Ali-Ollie Woodson. Woodson previously fronted an act called Ali-Ollie Woodson & the Emperors of Soul--Emperors of Soul being the name of the 1994 Temptations boxed set. He replaced Bernard Gibson[30][31] in 2007; Gibson was an original 1993 addition, and was in the group for all of their PBS performances. Damon Harris split from his group in the late 1990s; the other four members then joined with another former Temptation, Glenn Leonard, to become "Glenn Leonard and the Temptations Experience." Joe Herndon left this group to join the Temptations[32] His spot was filled by former Temptations bass Ray Davis, and, following Davis' death on July 5, 2005, Harry McGilberry, another former Temptations bass (McGilberry died on April 3, 2006). Damon Harris would form a new group later, billed as "Damon Harris and the Temptations Tribute." Richard Street also leads a group, billed as "Richard Street" or "Richard Street's Temptations"[33]. Street is in the process of writing a book regarding his time with The Temptations entitled Ball of Confusion. If it is published, it will be the second autobiography regarding the group. [edit] Musical style The Temptations' songs depended upon the individual members' interaction as a group; unlike many other R&B groups, each member of the Temptations was a lead singer of some capacity. Although the group always had an appointed main lead singer who dominated most the lead vocals (from Paul Williams to David Ruffin, Dennis Edwards, and later singers such as Louis Price, Ali-Ollie Woodson, and Terry Weeks), that singer was never given more of a promotional push than the other members. Co-lead songs, with two or more of the singers sharing the lead vocals, are common in the Temptations catalog, particularly among the psychedelic-era recordings of the late 1960s/early 1970s The "Motown Sound" The group would alter their style several times over the years following their first Motown hit, adapting to the popular styles of the day while retaining their signature visual and vocal styles. The earliest Temptations recordings reflect the influence of producers Berry Gordy and Smokey Robinson, featuring a blend of black rhythm and blues and white pop music that came to be later identified as the "Motown Sound". Backed by Motown's stalwart studio band, the Funk Brothers, pre-1966 Temptations recordings were built around songs (usually ballads like "My Girl") with simple, direct lyrics supported by an R&B rhythm section with orchestral strings and horns added for pop appeal. During this period, each recording usually featured only one lead singer, usually David Ruffin or Eddie Kendricks, although Paul Williams, Melvin Franklin, and Otis Williams each had solo numbers of their own at various times. Like most Motown groups, melisma and other complicated vocalization techniques were eschewed by the Temptations for a more direct, yet obviously gospel-rooted vocal approach, to make the songs more palpable for white audiences. Creative control remained primarily in Smokey Robinson's hands, although the Temptations, most frequently Eddie Kendricks, periodically co-wrote some of their material. Kendricks also handled the vocal arrangements for all of the Temptations' material. In 1966, Norman Whitfield changed the group's dynamic, moving them away from the previous one lead singer model and adding elements derived from the rougher soul of artists like James Brown, Wilson Pickett, and the performers at Stax Records. Whitfield and his lyricists crafted Temptations songs with shifts of dynamics, syncopated horn stabs, and more intricate harmony arrangements which spotlighted each singer's unique vocal range. Onstage, this change was reflected in the group's use of a custom-made four-headed microphone, which allowed each member freedom to perform without having to all crowd around one or two microphones. Under Whitfield's control, the Temptations retained their white pop appeal, but also gained popularity amongst black audiences as well. Psychedelic and cinematic soul When David Ruffin was replaced by Dennis Edwards, and Sly and the Family Stone became popular, Whitfield again restructured the Temptations' sound, this time driving the group almost completely into a "psychedelic soul" sound. Recordings from this period (such as "Cloud Nine" and "Psychedelic Shack") featured echoed vocal tracks, distorted guitar lines with prominent use of the wah-wah pedal, hard-hitting drums, and various stereo effects and sound effects. The majority of these songs feature at least two lead singers; often, all five Temptations sang lead, trading bars a la the Family Stone. Dennis Edwards, whose vocal style had a rougher, more Southern-soul based sound than David Ruffin's, was featured prominently on most of these recordings. The lyrics for these songs, inspired heavily by Sly Stone's concurrent works, centered primarily around social issues such as integration, the Vietnam War, and self-consciousness. Ballads in the group's traditional style were still being recorded as b-sides and album fillers (the exception being "Just My Imagination"). Many of the psychedelic soul recordings were presented in extended-length mixes longer than the typical three-minute Motown song. Tracks such as the album version of "Run Away Child, Running Wild" from Cloud Nine, "Take a Stroll Thru Your Mind" from Psychedelic Shack, and "Smiling Faces Sometimes" from Sky's the Limit, all run at least eight minutes in length. Much of the running time for each song consists of instrumental passages without vocals, at Whitfield's insistence. The hit version of their smash 1972 single "Papa Was a Rolling Stone" was nearly seven minutes long, with an instrumental intro that was almost two minutes long -- a rarity for songs of that era. "Psychedelic soul" soon gave way to "cinematic soul": Long recordings with detailed orchestration and extended instrumental introductions and bridging passages, oten focusing on lyrics about the ghettos and inner cities of black America. These songs were heavily influenced by the work of singer/songwriters Isaac Hayes and Curtis Mayfield. Unlike Hayes and Mayfield, the Temptations had no creative control over their recordings, and were not fond of the twelve and thirteen-minute long songs that Norman Whitfield was now producing for them. Whitfield's contributions were the focal point of Temptations albums such as Solid Rock, All Directions, and particularly Masterpiec. From funk to disco to adult contemporary After Whitfield was dismissed as the Temptations' producer in 1974, the group altered its sound to accommodate a balance of both up-tempo dance material and ballads. The vocal arrangements began to again focus primarily on one lead singer per track, although leads were still being periodically shared. In addition, the Temptations themselves, after fighting Motown and Berry Gordy for creative control, began to write and produce some of their material. From this point on, the Temptations focused almost exclusively on songs about romance; songs about social issues similar to the Whitfield-era recordings were periodically recorded as well. Mid-1970s Temptations recordings focused significantly on funk music influences from artists such as Parliament Funkadelic and Sly and the Family Stone; members of both acts contributed to Temptations material during this period. The group's ballads, reduced to filler material during much of the Whifield period, were restored to the lush sound of the earlier Smokey Robinson-produced hits. After a brief diversion into disco in the late-1970s, the Temptations settled into an adult contemporary-rooted form of R&B, a style in which they continue to record. As the ages of its members increased, the Temptations' live shows have focused on less intricate choreography, although dancing remains an important aspect of the group's act. Legacy and influence The Temptations, with their tailored suits and detailed choreography, set the bar for male soul and R&B groups. Before the Temptations became popular, most black vocal groups were rough, high-energy acts with rawer vocals and more improvisational dance movements. Only a few performers, including contemporaries Marvin Gaye, Sam Cooke, and the Four Tops, showed the refined style that would be popularized by the Temptations. Berry Gordy insisted his acts be equally appealing to white and black audiences, and employed a creative team to help tailor Motown talent for crossover success. Paul Williams and Motown choreographer Cholly Atkins created the Temptation's trademark precise and energetic, yet refined, dance steps. The most famous of these, the "Temptation Walk", or "Temptation Strut", was adapted from similar moves by the Flamingoes and the Vibrations. From those two sources, Paul Williams crafted the group's signature dance routine. During the 1960s and 1970s, a number of soul groups showed significant influence from the Temptations, among them the Delfonics, the Stylistics, George Clinton's original Parliaments, the Dramatics, and Motown labelmates the Jackson Five. These acts, and others, showed the influence of the Temptations in both their vocal performances and their onstage choreography. Several more recent soul and R&B vocal groups, including the Johnny Gill-led version of New Edition, Jodeci, BLACKstreet, Dru Hill, and, most notably, 1990s Motown act Boyz II Men, also showed significant influence from the Temptations. Temptations songs have been covered by scores of musicians, from R&B singers such as Luther Vandross ("Since I Lost My Baby"), to pop vocalists such as Bette Midler ("Just My Imagination"), to rock bands such as Rare Earth ("Get Ready"), Duran Duran ("Ball of Confusion (That's What the World Is Today)") and the Rolling Stones ("Ain't Too Proud to Beg"). In 1991, British singer Rod Stewart collaborated with the Temptations on the single "The Motown Song". The lives and careers of The Temptations were one of several inspirations for Robert Townsend's 1991 film about a 1960s Motown-esque male group, The Five Heartbeats. In 2004, Rolling Stone Magazine ranked The Temptations #67 on their list of the 100 Greatest Artists of All Time.[34] (Less)

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