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S Club 7 - Best The Greatest Hits of S Club 7 (2003)
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Ray_Stevens_Bridget_the_midget
Ray Stevens (geboren Harold Ray Ragsdale, januari 24, 1939) is een Amerikaanse land muziek en pop (More) Ray Stevens (geboren Harold Ray Ragsdale, januari 24, 1939) is een Amerikaanse land muziek en pop singer-songwriter bekend voor zijn nieuwheid nummers alsook meer ernstig werken. He was born in Clarkdale , Georgia , a small town west of Atlanta . Hij werd geboren in Clarkdale, Georgië, een kleine stad ten westen van Atlanta. Contents Inhoud [show] * 1 Style 1 Stijl * 2 Career 2 Carrière o 2.1 Early career 2.1 Vroege carrière o 2.2 1970s 2.2 1970 o 2.3 1980s and after 2-3 jaren 1980 en na o 2.4 Videos 2.4 Video's * 3 Awards 3 Awards * 4 Discography 4 Discografie * 5 Awards 5 Awards * 6 References 6 Referenties * 7 External links 7 Externe links Style Stijl Stevens music seems to be mostly influenced by traditional country western and gospel music. Stevens muziek lijkt vooral beïnvloed door de traditionele westerse land en gospel muziek. He has done a few satire songs using other styles such as Surfing USSR. Hij heeft een paar liedjes satire met andere stijlen zoals surfen USSR. Many of his novelty songs include long sections of dialog between two people both played by Stevens, such as in the Streak, or between him and an unheard character over the telephone, such as in the Shriner Convention or It's Me Again Margret. Veel van zijn novelty songs bevatten lange gedeelten van dialoog tussen twee mensen beide gespeeld door Stevens, zoals in de streak, of tussen hem en een ongehoorde karakter via de telefoon, zoals in het Verdrag of Shriner It's Me Again Margret. Unlike most novelty Artists, such as "Weird Al" Yankovic , Stevens has also had several successful serious songs. In tegenstelling tot de meeste nieuwheid Artiesten, zoals "Weird Al" Yankovic, Stevens heeft ook een aantal succesvolle serieuze liedjes. Career Loopbaan Early career Vroege carrière Stevens' recording career began in the mid-1950s with two singles released on Prep Records . Stevens' opname carrière begon in het midden van 1950 met twee singles uitgebracht op Prep Records. He then signed a contract with Capitol Records with the help of Atlanta, Georgia music maven Bill Lowery . Hij ondertekende een contract bij Capitol Records met de hulp van Atlanta, Georgia muziek Maven Bill Lowery. In 1958, Stevens joined Lowery's National Recording Corporation (NRC), playing numerous instruments, arranging music, and performing background vocals for its band. In 1958, Stevens trad Lowery Nationale Recording Corporation (NRC), spelen tal van instrumenten, het regelen van de muziek, en het uitvoeren van de achtergrond vocalen voor zijn band. After NRC filed for bankruptcy, he signed with Mercury Records with whom Stevens recorded a series of hit records in the 1960s that included songs such as " Ahab the Arab ", "Harry the Hairy Ape", "Funny Man", the original recording of "Santa Claus is Watching You", and " Jeremiah Peabody's Polyunsaturated Quick-Dissolving, Fast-Acting Pleasant-Tasting Green and Purple Pills ". Na NVO faillissement, hij ondertekende met Mercury Records met wie Stevens boekte een reeks hit records in de jaren 1960 die opgenomen nummers zoals "Ahab de Arabische", "Harry de Hairy Ape", "Funny Man", de originele opname van "Santa Claus is watching you", en "Jeremiah Peabody's poly Quick-Oplossen, Fast-Acting Pleasant-Degustatie Green en Purple Pills". Stevens often employed canned laugh tracks in his comedic novelty songs, such as " The Streak ", "Harry the Hairy Ape", "It's Me Again, Margaret" and others, which contributed to his success in the 60s and 70s (during a time when canned laughter was used to "punch up" TV sitcoms). Stevens vaak werkzaam in blik lachen tracks in zijn comedic novelty songs, zoals "De streak", "Harry de Hairy Ape", "It's Me Again, Margaret" en anderen, die hebben bijgedragen aan zijn succes in de jaren'60 en'70 (in een tijd wanneer ingeblikte gelach werd gebruikt om "punch-up" TV sitcoms). Stevens continues to use canned laugh tracks in recent recordings. Stevens blijft gebruiken ingeblikte lach tracks in recente opnames. In 1968, Stevens signed with Monument Records and started to release serious material such as "Mr. Businessman" in 1968, a Top 30 pop hit, and "Have A Little Talk With Myself" and the original version of " Sunday Morning Coming Down " in 1969, which became Ray's first two singles to reach the country music charts; Johnny Cash 's recording of "Sunday Morning Coming Down" was a hit in 1970. In 1968, Stevens ondertekend met Monument Records en begon om ernstige materiële zoals "Mr Zakenman" in 1968, een Top 30 pop hit, en "Have A Little Talk with Myself" en de originele versie van "Sunday Morning Coming Down" in 1969, die werd Ray's eerste twee singles te bereiken het land muziek charts; Johnny Cash 's opname van "Sunday Morning Coming Down" werd een hit in 1970. Stevens continued releasing novelty songs, and in 1969 he had a million-selling Top 10 pop hit with " Gitarzan ". Stevens bleef vrijgeven nieuwheid nummers, en in 1969 had hij een miljoen verkochte Top 10 pop hit met "Gitarzan". Stevens also became a regular on The Andy Williams Show during the 19691970 season, and even hosted his own summer show ( The Ray Stevens Show ) in 1970. Stevens werd ook regelmatig op The Andy Williams Show tijdens het seizoen 1969-1970, en zelfs zijn eigen gehoste zomer show (De Ray Stevens Show) in 1970. 1970s 1970 Starting in the 1970s, Stevens became a producer and well-known studio musician on the Nashville scene. Vanaf de jaren 1970, Stevens is een producent en bekende studio muzikant op de Nashville-scene. He recorded hits for Barnaby Records and Warner Brothers during 19701979. Hij heeft hits voor Barnaby Records en Warner Brothers gedurende 1970-1979. Stevens' biggest hit in the US was his gospel-inflected single " Everything Is Beautiful " (1970), a plea for love and tolerance. Stevens grootste hit in de VS was zijn evangelie-verbogen single "Everything Is Beautiful" (1970), een pleidooi voor de liefde en tolerantie. The single won a Grammy, was the theme song for his summer 1970 TV show, and marked his first time in the Top 40 on the country charts, peaking at #39. De single won een Grammy, werd de theme song voor de zomer van 1970 zijn tv-show, en gemarkeerd zijn eerste keer in de Top 40 over het land charts, met een piek op # 39. His other 1970 singles were "America, Communicate With Me" and "Unwind", both minor pop successes. Zijn andere 1970 singles waren "Amerika, communiceren With Me" en "Ontspan", beide kleine pop successen. His novelty song "Bridget the Midget (The Queen of The Blues)" made #2 on the UK chart in 1971, but in the US it only reached #50. Zijn nieuw lied "Bridget de Midget (The Queen van The Blues)" made # 2 op de Britse chart in 1971, maar in de VS alleen bereikt # 50. Ray had a gospel/country hit single in early 1972 with " Turn Your Radio On ", reaching the country Top 20. Ray had een gospel / land hit single in begin 1972 met "Turn Your Radio On", het bereiken van het land Top 20. Two more of Ray's songs in 1972 were also minor pop hits, "A Mama and a Papa" and "All My Trials", but both crossed over to the Top 40 Adult-Contemporary lists. Twee meer van Ray's songs in 1972 werden ook kleine pop hits, "Een mama en een papa" en "All My Trials', maar beide overgestoken naar de Top 40 Adult Contemporary-lijsten. In 1973, Stevens had a top 40 country hit with the title track of his album "Nashville". In 1973, Stevens had een top 40 land hit met het titelnummer van zijn album "Nashville". In 1974, Stevens recorded perhaps his most famous hit, " The Streak ", which poked fun at the early-1970s fad of running nude in public, known as " streaking ". In 1974, Stevens geregistreerd wellicht zijn bekendste hit, "The streak", die poked plezier op de vroege jaren 1970 bevlieging van stromend naakt in het openbaar, bekend als "strepen". It made No. 1 in both the UK and the USA and No. 3 on the country chart. Het maakte nummer 1 in zowel het Verenigd Koninkrijk en de Verenigde Staten en nr. 3 op het land grafiek. Ray's tenure with Barnaby came to an end in early 1976, after he had racked up several more hit singles; " The Moonlight Special " is a spoof of the TV program "The Midnight Special". Ray's tenure met Barnaby kwam een einde in het begin van 1976, nadat hij was geïnstalleerd, een aantal meer hit singles "The Moonlight Special" is een spoof van de TV-programma "The Midnight Special". In 1975, he released the Grammy-winning " Misty ", which became his biggest country hit (reaching #3 on the country charts and #14 on the pop charts); he also hit the country Top 40 with a doo-wop version of " Indian Love Call ", " Everybody Needs a Rainbow ", and a ballad version of " Young Love " in early 1976. In 1975 bracht hij de Grammy-winnende "Misty", dat werd zijn grootste hit land (het bereiken # 3 van het land, grafieken en # 14 op de hitlijsten), hij moet ook het land getroffen Top 40 met een doo-Spaghettivreter versie van "Indian Love Call", "Everybody Needs a Rainbow", en een ballad-versie van "Young Love" in het begin van 1976. In the spring of 1976, Stevens joined Warner Brothers, where his debut was a strong showing with three hit singles in a row. In het voorjaar van 1976, Stevens trad Warner Brothers, waar zijn debuut was een sterke blijkt met drie hit singles op een rij. The first was the up-tempo version of " You Are So Beautiful ", which reached the country Top 20, then " Honky Tonk Waltz ", which reached the Top 30. De eerste was de up-tempo versie van "You Are So Beautiful", die op het land Top 20, dan "Honky Tonk Waltz", die tot de Top 30. He then released a novelty single, billing himself as a choir of chickens: under the pseudonym "Henhouse Five Plus Too", Stevens recorded a version of Glenn Miller 's " In The Mood " in the style of a clucking chicken; it became a Top 40 hit in the US and UK in early 1977. Hij vervolgens vrijgegeven een noviteit enkel, facturering zichzelf als een koor van kippen: onder het pseudoniem "kippenhok Vijf Plus Too", Stevens boekte een versie van Glenn Miller 's "In The Mood" in de stijl van een clucking kip; werd een Top 40 hit in de VS en het Verenigd Koninkrijk in het begin van 1977. Ray never made it to the Top 40 throughout the rest of 1977 on either the pop or country charts. Ray nooit naar de Top 40 in de rest van 1977 op de pop of land charts. In 1978 he had a hit with " Be Your Own Best Friend " on the country charts, and in 1979 he had his final hit, as of 2007 [update] , on the Hot 100 pop chart with the novelty " I Need Your Help, Barry Manilow ". In 1978 had hij een hit met "Be Your Own Best Friend" op het land grafieken, en in 1979 had hij zijn laatste hit, met ingang van 2007 [update], op de Hot 100 pop chart met de nieuwheid "Ik heb je hulp nodig, Barry Manilow. He joined RCA in late 1979, releasing new material in 1980. Hij trad RCA eind 1979, waarbij het nieuwe materiaal in 1980. 1980s and after Jaren 1980 en na After joining RCA in 1980, Ray continued having hit singles with somewhat less success than in the previous decade. Na toetreding tot RCA in 1980, Ray voortgezet met hit singles met iets minder succes dan in het vorige decennium. His debut single, the Top 10 " Shriner's Convention " and then the Top 20 love ballad " Night Games " performed relatively well on the charts. Zijn debuut single de Top 10 "Shriner het Verdrag" en daarna de Top 20 love ballad "Night Games" uitgevoerd relatief goed op de hitlijsten. In 1981, only one single made the charts, the Top 40 hit "One More Last Chance". In 1981, slechts een enkele maakte de kaarten, de Top 40 hit "One More Last Chance". In 1982 a few more singles were released, notably the Top 40 "Written Down in My Heart". In 1982 nog een paar singles werden uitgebracht, met name de Top 40 "opgeschreven in mijn hart". Stevens left RCA and returned to Mercury Records, the label that made him a star in the early 1960s. Stevens links RCA en keerde terug naar Mercury Records, het label dat maakte hem tot een ster in de vroege jaren 1960. This resulted in only one album, the 1983 project "Me", and only one chart hit, "My Dad", in early 1984. Dit resulteerde in slechts een album, het 1983-project "Me", en alleen een grafiek hit, "Mijn vader", in het begin van 1984. Ray then joined MCA in 1984 as a "country comedy" act and thereafter released only novelty song albums. Ray vervolgens trad MCA in 1984 als een "land komedie" daad en daarna pas vrijgegeven nieuwheid song albums. Ray's first two albums for MCA were both hugely successful, both hitting sales of over half a million. Ray's eerste twee albums voor MCA waren beide enorm succes, zowel raakt de verkoop van meer dan een half miljoen. His next series of albums were high sellers as well. Zijn volgende reeks albums waren hoog verkopers ook. The fan-voted Music City News awards named Stevens Comedian of the Year annually for 9 consecutive years from 1986 to 1994. De fan-gestemd Music City News Award vernoemd Stevens Cabaretier van het Jaar jaarlijks voor 9 achtereenvolgende jaren 1986 tot 1994. Ray's singles were no longer making the Top 40 charts as they were comedy/novelty and country radio resisted playing songs that weren't serious. Ray's singles werden niet meer maken van de Top 40 hitlijsten als zij waren komedie / nieuwheid en land radio weerstaan spelen songs die waren niet ernstig. Even though it meant little airplay, the sales and overall popularity Ray was enjoying during the 1980s and into the 1990s because of the switch to all-comedy was a runaway success. Ook al betekende weinig airplay, de verkoop en de algemene populariteit Ray was genieten tijdens de jaren 1980 en in de jaren 1990 als gevolg van de overstap naar all-comedy was een succes. His newer and younger fans bought many of the greatest hits albums MCA and other record labels had released during the 1980s. Zijn nieuwere en jongere fans kochten veel van de grootste hits albums MCA en andere platenmaatschappijen hadden vrijgegeven tijdens de jaren 1980. A few of Ray's commercial singles charted on the Single Sales charts during this time, but only one single actually made it to the radio-dominated Top 40, "Mississippi Squirrel Revival" reached the Top 20, making that Ray's final single to hit the Top-40 portion of the country chart. Een paar van Ray's commerciële singles in kaart gebracht op de interne Sales grafieken in deze tijd, maar slechts een daadwerkelijk gemaakt naar de radio gedomineerde Top 40, "Mississippi Squirrel Revival" bereikte de Top 20, waardoor deze Ray definitieve enkel te raken de Top -40 gedeelte van het land grafiek. "Would Jesus Wear a Rolex" is the only single during his 1984-1989 stint on MCA that came close to reaching the Top 40, stalling at #41 in 1987. "Zou Jezus Draag een Rolex" is het slechts enkele tijdens zijn 1984-1989 bekrimpen op MCA dat kwam dicht bij het bereiken van de Top 40, blokkering op # 41 in 1987. Second to that, the other single close to hitting the Top 40 on the country chart was the #45 hit "The Haircut Song". Tweede tot en dat, de andere enkel dichtbij raken de Top 40 over het land was de grafiek # 45 hit "Het surpluspercentage Song". Ray left MCA in 1989 for Curb/Capitol in 1990. Ray links MCA in 1989 voor Curb / Capitol in 1990. The two labels split apart after a few years joined together and Ray continued with Curb Records afterwards. De twee labels gesplitst afgezien na een paar jaar samen en Ray voortgezet met Curb Records achteraf. Ray's last chart record on the country charts came in 2002 with "Osama Yo' Mama" which made the Top 50 and became Ray's first gold record since " The Streak " in 1974. Ray's laatste grafiek record op het land charts kwam in 2002 met "Osama Yo 'Mama" die de Top 50 en werd Ray's eerste gouden plaat sinds "De streak" in 1974. Videos Video's Stevens' songs have been showcased in several videos. Stevens' songs zijn tentoongesteld in verschillende video's. " Gitarzan " was featured on Disc 1 of the Dr. "Gitarzan" was featured on Disc 1 van de dr. Demento 20th Anniversary Collection. Demento 20th Anniversary Collection. Ray Stevens videos were frequently offered via television commercials. Ray Stevens video's werden vaak aangeboden via de televisie commercials. 1992's "Comedy Video Classics" contained 8 music videos, winning the Home Video of the Year in 1993 as well as other awards. 1992's "Humor Videobeschrijving Classics" bevatte 8 muziek video's, het winnen van de Home Video van het Jaar in 1993 en andere prijzen. Two videos filmed at his Branson, Missouri theatre "Ray Stevens Live!" Twee video's gefilmd op zijn Branson, Missouri theater "Ray Stevens Live!" and "More Ray Stevens Live!!" en "Meer Ray Stevens Live!" were released in 1993, although the second collection was only available to fan club members at the time. zijn uitgebracht in 1993, hoewel de tweede collectie is alleen beschikbaar voor fanclub leden op dat moment. In 1995 he released a movie Get Serious!! which contained 10 music videos inserted at appropriate times throughout the spoken dialogue. In 1995 bracht hij een film Get Serious! Waarin 10 muziek video's geplaatst op de juiste momenten van de gesproken dialoog. The video collection Latest and Greatest was released in 1996. De video collectie nieuwste en beste werd uitgebracht in 1996. In 2000 he released Funniest Video Characters including the video to his 1985 song "The Ballad of the Blue Cyclone". In 2000 is hij vrijgelaten Funniest Video tekens inclusief de video op zijn 1985 nummer "The Ballad of the Blue Cyclone". In 2004 Greatest Video Characters was released; this was a large collection of 1990s Ray Stevens music videos including three newer ones, "Osama Yo' Mama", "Hello Mama", and "Thank You". In 2004 Greatest Video Personages werd uitgebracht, dit was een grote collectie 1990 Ray Stevens muziekvideo's, waaronder drie nieuwere zijn, "Osama Yo 'Mama", "Hallo Mama" en "Thank You". Ray's video albums are released by mail order on his own label, Clyde Records. Ray's video albums worden uitgebracht per post bestellen op zijn eigen label, Clyde Records. Curb Records also offers retail distribution. Curb Records biedt ook de detailhandel. Awards Awards Stevens has won two Grammy Awards : one for "Everything Is Beautiful" and one for the arrangement of his country and western version of the jazz standard " Misty " (1975). Stevens won twee Grammy Awards: een voor 'Everything is beautiful "en een voor de regeling van zijn land-en West-versie van de jazz-norm" Misty "(1975). Ray Stevens was inducted into the Nashville Songwriters Hall of Fame in 1980. Ray Stevens werd inducted in de Nashville Songwriters Hall of Fame in 1980. (Less)
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)
Groups results for: s club 7 best the greatest hits of s club 7 Ray_Stevens_Bridget_the_midget Ray Stevens (geboren Harold Ray Ragsdale, januari 24, 1939) is een Amerikaanse land muziek en pop (More) Ray Stevens (geboren Harold Ray Ragsdale, januari 24, 1939) is een Amerikaanse land muziek en pop singer-songwriter bekend voor zijn nieuwheid nummers alsook meer ernstig werken. He was born in Clarkdale , Georgia , a small town west of Atlanta . Hij werd geboren in Clarkdale, Georgië, een kleine stad ten westen van Atlanta. Contents Inhoud [show] * 1 Style 1 Stijl * 2 Career 2 Carrière o 2.1 Early career 2.1 Vroege carrière o 2.2 1970s 2.2 1970 o 2.3 1980s and after 2-3 jaren 1980 en na o 2.4 Videos 2.4 Video's * 3 Awards 3 Awards * 4 Discography 4 Discografie * 5 Awards 5 Awards * 6 References 6 Referenties * 7 External links 7 Externe links Style Stijl Stevens music seems to be mostly influenced by traditional country western and gospel music. Stevens muziek lijkt vooral beïnvloed door de traditionele westerse land en gospel muziek. He has done a few satire songs using other styles such as Surfing USSR. Hij heeft een paar liedjes satire met andere stijlen zoals surfen USSR. Many of his novelty songs include long sections of dialog between two people both played by Stevens, such as in the Streak, or between him and an unheard character over the telephone, such as in the Shriner Convention or It's Me Again Margret. Veel van zijn novelty songs bevatten lange gedeelten van dialoog tussen twee mensen beide gespeeld door Stevens, zoals in de streak, of tussen hem en een ongehoorde karakter via de telefoon, zoals in het Verdrag of Shriner It's Me Again Margret. Unlike most novelty Artists, such as "Weird Al" Yankovic , Stevens has also had several successful serious songs. In tegenstelling tot de meeste nieuwheid Artiesten, zoals "Weird Al" Yankovic, Stevens heeft ook een aantal succesvolle serieuze liedjes. Career Loopbaan Early career Vroege carrière Stevens' recording career began in the mid-1950s with two singles released on Prep Records . Stevens' opname carrière begon in het midden van 1950 met twee singles uitgebracht op Prep Records. He then signed a contract with Capitol Records with the help of Atlanta, Georgia music maven Bill Lowery . Hij ondertekende een contract bij Capitol Records met de hulp van Atlanta, Georgia muziek Maven Bill Lowery. In 1958, Stevens joined Lowery's National Recording Corporation (NRC), playing numerous instruments, arranging music, and performing background vocals for its band. In 1958, Stevens trad Lowery Nationale Recording Corporation (NRC), spelen tal van instrumenten, het regelen van de muziek, en het uitvoeren van de achtergrond vocalen voor zijn band. After NRC filed for bankruptcy, he signed with Mercury Records with whom Stevens recorded a series of hit records in the 1960s that included songs such as " Ahab the Arab ", "Harry the Hairy Ape", "Funny Man", the original recording of "Santa Claus is Watching You", and " Jeremiah Peabody's Polyunsaturated Quick-Dissolving, Fast-Acting Pleasant-Tasting Green and Purple Pills ". Na NVO faillissement, hij ondertekende met Mercury Records met wie Stevens boekte een reeks hit records in de jaren 1960 die opgenomen nummers zoals "Ahab de Arabische", "Harry de Hairy Ape", "Funny Man", de originele opname van "Santa Claus is watching you", en "Jeremiah Peabody's poly Quick-Oplossen, Fast-Acting Pleasant-Degustatie Green en Purple Pills". Stevens often employed canned laugh tracks in his comedic novelty songs, such as " The Streak ", "Harry the Hairy Ape", "It's Me Again, Margaret" and others, which contributed to his success in the 60s and 70s (during a time when canned laughter was used to "punch up" TV sitcoms). Stevens vaak werkzaam in blik lachen tracks in zijn comedic novelty songs, zoals "De streak", "Harry de Hairy Ape", "It's Me Again, Margaret" en anderen, die hebben bijgedragen aan zijn succes in de jaren'60 en'70 (in een tijd wanneer ingeblikte gelach werd gebruikt om "punch-up" TV sitcoms). Stevens continues to use canned laugh tracks in recent recordings. Stevens blijft gebruiken ingeblikte lach tracks in recente opnames. In 1968, Stevens signed with Monument Records and started to release serious material such as "Mr. Businessman" in 1968, a Top 30 pop hit, and "Have A Little Talk With Myself" and the original version of " Sunday Morning Coming Down " in 1969, which became Ray's first two singles to reach the country music charts; Johnny Cash 's recording of "Sunday Morning Coming Down" was a hit in 1970. In 1968, Stevens ondertekend met Monument Records en begon om ernstige materiële zoals "Mr Zakenman" in 1968, een Top 30 pop hit, en "Have A Little Talk with Myself" en de originele versie van "Sunday Morning Coming Down" in 1969, die werd Ray's eerste twee singles te bereiken het land muziek charts; Johnny Cash 's opname van "Sunday Morning Coming Down" werd een hit in 1970. Stevens continued releasing novelty songs, and in 1969 he had a million-selling Top 10 pop hit with " Gitarzan ". Stevens bleef vrijgeven nieuwheid nummers, en in 1969 had hij een miljoen verkochte Top 10 pop hit met "Gitarzan". Stevens also became a regular on The Andy Williams Show during the 19691970 season, and even hosted his own summer show ( The Ray Stevens Show ) in 1970. Stevens werd ook regelmatig op The Andy Williams Show tijdens het seizoen 1969-1970, en zelfs zijn eigen gehoste zomer show (De Ray Stevens Show) in 1970. 1970s 1970 Starting in the 1970s, Stevens became a producer and well-known studio musician on the Nashville scene. Vanaf de jaren 1970, Stevens is een producent en bekende studio muzikant op de Nashville-scene. He recorded hits for Barnaby Records and Warner Brothers during 19701979. Hij heeft hits voor Barnaby Records en Warner Brothers gedurende 1970-1979. Stevens' biggest hit in the US was his gospel-inflected single " Everything Is Beautiful " (1970), a plea for love and tolerance. Stevens grootste hit in de VS was zijn evangelie-verbogen single "Everything Is Beautiful" (1970), een pleidooi voor de liefde en tolerantie. The single won a Grammy, was the theme song for his summer 1970 TV show, and marked his first time in the Top 40 on the country charts, peaking at #39. De single won een Grammy, werd de theme song voor de zomer van 1970 zijn tv-show, en gemarkeerd zijn eerste keer in de Top 40 over het land charts, met een piek op # 39. His other 1970 singles were "America, Communicate With Me" and "Unwind", both minor pop successes. Zijn andere 1970 singles waren "Amerika, communiceren With Me" en "Ontspan", beide kleine pop successen. His novelty song "Bridget the Midget (The Queen of The Blues)" made #2 on the UK chart in 1971, but in the US it only reached #50. Zijn nieuw lied "Bridget de Midget (The Queen van The Blues)" made # 2 op de Britse chart in 1971, maar in de VS alleen bereikt # 50. Ray had a gospel/country hit single in early 1972 with " Turn Your Radio On ", reaching the country Top 20. Ray had een gospel / land hit single in begin 1972 met "Turn Your Radio On", het bereiken van het land Top 20. Two more of Ray's songs in 1972 were also minor pop hits, "A Mama and a Papa" and "All My Trials", but both crossed over to the Top 40 Adult-Contemporary lists. Twee meer van Ray's songs in 1972 werden ook kleine pop hits, "Een mama en een papa" en "All My Trials', maar beide overgestoken naar de Top 40 Adult Contemporary-lijsten. In 1973, Stevens had a top 40 country hit with the title track of his album "Nashville". In 1973, Stevens had een top 40 land hit met het titelnummer van zijn album "Nashville". In 1974, Stevens recorded perhaps his most famous hit, " The Streak ", which poked fun at the early-1970s fad of running nude in public, known as " streaking ". In 1974, Stevens geregistreerd wellicht zijn bekendste hit, "The streak", die poked plezier op de vroege jaren 1970 bevlieging van stromend naakt in het openbaar, bekend als "strepen". It made No. 1 in both the UK and the USA and No. 3 on the country chart. Het maakte nummer 1 in zowel het Verenigd Koninkrijk en de Verenigde Staten en nr. 3 op het land grafiek. Ray's tenure with Barnaby came to an end in early 1976, after he had racked up several more hit singles; " The Moonlight Special " is a spoof of the TV program "The Midnight Special". Ray's tenure met Barnaby kwam een einde in het begin van 1976, nadat hij was geïnstalleerd, een aantal meer hit singles "The Moonlight Special" is een spoof van de TV-programma "The Midnight Special". In 1975, he released the Grammy-winning " Misty ", which became his biggest country hit (reaching #3 on the country charts and #14 on the pop charts); he also hit the country Top 40 with a doo-wop version of " Indian Love Call ", " Everybody Needs a Rainbow ", and a ballad version of " Young Love " in early 1976. In 1975 bracht hij de Grammy-winnende "Misty", dat werd zijn grootste hit land (het bereiken # 3 van het land, grafieken en # 14 op de hitlijsten), hij moet ook het land getroffen Top 40 met een doo-Spaghettivreter versie van "Indian Love Call", "Everybody Needs a Rainbow", en een ballad-versie van "Young Love" in het begin van 1976. In the spring of 1976, Stevens joined Warner Brothers, where his debut was a strong showing with three hit singles in a row. In het voorjaar van 1976, Stevens trad Warner Brothers, waar zijn debuut was een sterke blijkt met drie hit singles op een rij. The first was the up-tempo version of " You Are So Beautiful ", which reached the country Top 20, then " Honky Tonk Waltz ", which reached the Top 30. De eerste was de up-tempo versie van "You Are So Beautiful", die op het land Top 20, dan "Honky Tonk Waltz", die tot de Top 30. He then released a novelty single, billing himself as a choir of chickens: under the pseudonym "Henhouse Five Plus Too", Stevens recorded a version of Glenn Miller 's " In The Mood " in the style of a clucking chicken; it became a Top 40 hit in the US and UK in early 1977. Hij vervolgens vrijgegeven een noviteit enkel, facturering zichzelf als een koor van kippen: onder het pseudoniem "kippenhok Vijf Plus Too", Stevens boekte een versie van Glenn Miller 's "In The Mood" in de stijl van een clucking kip; werd een Top 40 hit in de VS en het Verenigd Koninkrijk in het begin van 1977. Ray never made it to the Top 40 throughout the rest of 1977 on either the pop or country charts. Ray nooit naar de Top 40 in de rest van 1977 op de pop of land charts. In 1978 he had a hit with " Be Your Own Best Friend " on the country charts, and in 1979 he had his final hit, as of 2007 [update] , on the Hot 100 pop chart with the novelty " I Need Your Help, Barry Manilow ". In 1978 had hij een hit met "Be Your Own Best Friend" op het land grafieken, en in 1979 had hij zijn laatste hit, met ingang van 2007 [update], op de Hot 100 pop chart met de nieuwheid "Ik heb je hulp nodig, Barry Manilow. He joined RCA in late 1979, releasing new material in 1980. Hij trad RCA eind 1979, waarbij het nieuwe materiaal in 1980. 1980s and after Jaren 1980 en na After joining RCA in 1980, Ray continued having hit singles with somewhat less success than in the previous decade. Na toetreding tot RCA in 1980, Ray voortgezet met hit singles met iets minder succes dan in het vorige decennium. His debut single, the Top 10 " Shriner's Convention " and then the Top 20 love ballad " Night Games " performed relatively well on the charts. Zijn debuut single de Top 10 "Shriner het Verdrag" en daarna de Top 20 love ballad "Night Games" uitgevoerd relatief goed op de hitlijsten. In 1981, only one single made the charts, the Top 40 hit "One More Last Chance". In 1981, slechts een enkele maakte de kaarten, de Top 40 hit "One More Last Chance". In 1982 a few more singles were released, notably the Top 40 "Written Down in My Heart". In 1982 nog een paar singles werden uitgebracht, met name de Top 40 "opgeschreven in mijn hart". Stevens left RCA and returned to Mercury Records, the label that made him a star in the early 1960s. Stevens links RCA en keerde terug naar Mercury Records, het label dat maakte hem tot een ster in de vroege jaren 1960. This resulted in only one album, the 1983 project "Me", and only one chart hit, "My Dad", in early 1984. Dit resulteerde in slechts een album, het 1983-project "Me", en alleen een grafiek hit, "Mijn vader", in het begin van 1984. Ray then joined MCA in 1984 as a "country comedy" act and thereafter released only novelty song albums. Ray vervolgens trad MCA in 1984 als een "land komedie" daad en daarna pas vrijgegeven nieuwheid song albums. Ray's first two albums for MCA were both hugely successful, both hitting sales of over half a million. Ray's eerste twee albums voor MCA waren beide enorm succes, zowel raakt de verkoop van meer dan een half miljoen. His next series of albums were high sellers as well. Zijn volgende reeks albums waren hoog verkopers ook. The fan-voted Music City News awards named Stevens Comedian of the Year annually for 9 consecutive years from 1986 to 1994. De fan-gestemd Music City News Award vernoemd Stevens Cabaretier van het Jaar jaarlijks voor 9 achtereenvolgende jaren 1986 tot 1994. Ray's singles were no longer making the Top 40 charts as they were comedy/novelty and country radio resisted playing songs that weren't serious. Ray's singles werden niet meer maken van de Top 40 hitlijsten als zij waren komedie / nieuwheid en land radio weerstaan spelen songs die waren niet ernstig. Even though it meant little airplay, the sales and overall popularity Ray was enjoying during the 1980s and into the 1990s because of the switch to all-comedy was a runaway success. Ook al betekende weinig airplay, de verkoop en de algemene populariteit Ray was genieten tijdens de jaren 1980 en in de jaren 1990 als gevolg van de overstap naar all-comedy was een succes. His newer and younger fans bought many of the greatest hits albums MCA and other record labels had released during the 1980s. Zijn nieuwere en jongere fans kochten veel van de grootste hits albums MCA en andere platenmaatschappijen hadden vrijgegeven tijdens de jaren 1980. A few of Ray's commercial singles charted on the Single Sales charts during this time, but only one single actually made it to the radio-dominated Top 40, "Mississippi Squirrel Revival" reached the Top 20, making that Ray's final single to hit the Top-40 portion of the country chart. Een paar van Ray's commerciële singles in kaart gebracht op de interne Sales grafieken in deze tijd, maar slechts een daadwerkelijk gemaakt naar de radio gedomineerde Top 40, "Mississippi Squirrel Revival" bereikte de Top 20, waardoor deze Ray definitieve enkel te raken de Top -40 gedeelte van het land grafiek. "Would Jesus Wear a Rolex" is the only single during his 1984-1989 stint on MCA that came close to reaching the Top 40, stalling at #41 in 1987. "Zou Jezus Draag een Rolex" is het slechts enkele tijdens zijn 1984-1989 bekrimpen op MCA dat kwam dicht bij het bereiken van de Top 40, blokkering op # 41 in 1987. Second to that, the other single close to hitting the Top 40 on the country chart was the #45 hit "The Haircut Song". Tweede tot en dat, de andere enkel dichtbij raken de Top 40 over het land was de grafiek # 45 hit "Het surpluspercentage Song". Ray left MCA in 1989 for Curb/Capitol in 1990. Ray links MCA in 1989 voor Curb / Capitol in 1990. The two labels split apart after a few years joined together and Ray continued with Curb Records afterwards. De twee labels gesplitst afgezien na een paar jaar samen en Ray voortgezet met Curb Records achteraf. Ray's last chart record on the country charts came in 2002 with "Osama Yo' Mama" which made the Top 50 and became Ray's first gold record since " The Streak " in 1974. Ray's laatste grafiek record op het land charts kwam in 2002 met "Osama Yo 'Mama" die de Top 50 en werd Ray's eerste gouden plaat sinds "De streak" in 1974. Videos Video's Stevens' songs have been showcased in several videos. Stevens' songs zijn tentoongesteld in verschillende video's. " Gitarzan " was featured on Disc 1 of the Dr. "Gitarzan" was featured on Disc 1 van de dr. Demento 20th Anniversary Collection. Demento 20th Anniversary Collection. Ray Stevens videos were frequently offered via television commercials. Ray Stevens video's werden vaak aangeboden via de televisie commercials. 1992's "Comedy Video Classics" contained 8 music videos, winning the Home Video of the Year in 1993 as well as other awards. 1992's "Humor Videobeschrijving Classics" bevatte 8 muziek video's, het winnen van de Home Video van het Jaar in 1993 en andere prijzen. Two videos filmed at his Branson, Missouri theatre "Ray Stevens Live!" Twee video's gefilmd op zijn Branson, Missouri theater "Ray Stevens Live!" and "More Ray Stevens Live!!" en "Meer Ray Stevens Live!" were released in 1993, although the second collection was only available to fan club members at the time. zijn uitgebracht in 1993, hoewel de tweede collectie is alleen beschikbaar voor fanclub leden op dat moment. In 1995 he released a movie Get Serious!! which contained 10 music videos inserted at appropriate times throughout the spoken dialogue. In 1995 bracht hij een film Get Serious! Waarin 10 muziek video's geplaatst op de juiste momenten van de gesproken dialoog. The video collection Latest and Greatest was released in 1996. De video collectie nieuwste en beste werd uitgebracht in 1996. In 2000 he released Funniest Video Characters including the video to his 1985 song "The Ballad of the Blue Cyclone". In 2000 is hij vrijgelaten Funniest Video tekens inclusief de video op zijn 1985 nummer "The Ballad of the Blue Cyclone". In 2004 Greatest Video Characters was released; this was a large collection of 1990s Ray Stevens music videos including three newer ones, "Osama Yo' Mama", "Hello Mama", and "Thank You". In 2004 Greatest Video Personages werd uitgebracht, dit was een grote collectie 1990 Ray Stevens muziekvideo's, waaronder drie nieuwere zijn, "Osama Yo 'Mama", "Hallo Mama" en "Thank You". Ray's video albums are released by mail order on his own label, Clyde Records. Ray's video albums worden uitgebracht per post bestellen op zijn eigen label, Clyde Records. Curb Records also offers retail distribution. Curb Records biedt ook de detailhandel. Awards Awards Stevens has won two Grammy Awards : one for "Everything Is Beautiful" and one for the arrangement of his country and western version of the jazz standard " Misty " (1975). Stevens won twee Grammy Awards: een voor 'Everything is beautiful "en een voor de regeling van zijn land-en West-versie van de jazz-norm" Misty "(1975). Ray Stevens was inducted into the Nashville Songwriters Hall of Fame in 1980. Ray Stevens werd inducted in de Nashville Songwriters Hall of Fame in 1980. (Less)
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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