Podcast appearances and mentions of Otis Williams

Rudy Foster, who plays the role of Otis Williams of the Temptations in the production of "Ain't Too Proud: The Life and Times of the Temptations" coming to Miller Auditorium joined us with a preview of the show.See omnystudio.com/listener for privacy information.

(S4 Ep14) The Temptations- With a Lot o' SoulReleased July 17, 1967, Recorded between 1966-1967  (Gordy)With a Lot o' Soul, The Temptations' fifth studio album for Motown, showcased the iconic lineup of David Ruffin, Eddie Kendricks, Paul Williams, Melvin Franklin, and Otis Williams. The album blends Motown's classic pop-soul with experimental arrangements, including lush strings, intricate horn sections, and emotional themes. The Temptations' trademark harmonies shine, with Ruffin dominating many tracks. At the same time, other members take lead on songs like Paul Williams on “No More Water in the Well” and Eddie Kendricks on “You're My Everything.” The album features four hit singles like “(I Know) I'm Losing You” and “All I Need” and solidified the group's place in soul music history. Produced by Norman Whitfield, the album marks the beginning of the Temptations' evolution toward psychedelic soul, setting the stage for future groundbreaking work. Signature Tracks: "I Know I'm Losing You," "All I Need,"  "You're My Everything" Full Album: YouTube, Spotify Playlist: YouTube , Spotify

** PLEASE SUBSCRIBE ** Featured in WYGYFF Episode 11: Musician and host of the long-running "A Funk Above the Rest" radio show, Denver's Skip Reeves, a.k.a. "The Funktologist." Starting out as a drummer in the 1970s, he worked with artists like The Marvelettes, Mitch Ryder, The Platters, The Coasters, Buddy Miles, Alphonse Mouzon and The Drifters.  In addition to providing a platform for popular and lesser-known funk & soul music, "A Funk Above the Rest" has featured interviews with Otis Williams of The Temptations, Teena Marie, Rare Earth's Peter Rivera, The Four Tops' Abdul “Duke” Fakir, Jeffrey Osborne, Emilio Castillo of Tower of Power, Jimmy Castor, Klymaxx's Cheryl Cooley, comedian Sinbad, ex-Michael Jackson guitarist Jennifer Batten and Mothers Finest. Reeves' distinguished career includes several other media projects, many of which continue today. RECORDED OCTOBER 2024 Hosted by Scott "DR GX" Goldfine — musicologist, author of “Everything Is on the One: The First Guide of Funk” and creator/host of the popular TRUTH IN RHYTHM podcast — "Where'd You Get Your Funk From?" is the latest interview show brought to you by FUNKNSTUFF.NET. Where'd You Get Your Funk From (WYGYFF) is an open format video and audio podcast focusing on the here and now, with a broad range of creative and artistic guests sharing fascinating stories, experiences, and perspectives. WYGYFF is a welcoming avenue to newer and independent musical acts as well as established and still active musicians of any genre; authors; filmmakers; actors; artists; collectors and archivists; radio & podcast personalities; journalists; scholars; sound techs; promoters; photographers; and other creative people. A common thread, is the show's standard opening question: Where'd you get your funk from? This is much deeper than it may seem as the answer need not be strictly about funky music, as not everyone has found the funk. It could hit on whatever type of music touches their soul or pleasure centers. Additionally, the question extends beyond music. Paraphrasing George Clinton, funk is whatever it needs to be to get you over the hump. Thus, guests can explain where they got their grit, perseverance, inspiration, talent, creativity, character or other qualities that shaped them into who they are today. This serves as a springboard into candid, in-depth and engrossing conversations. LEGAL NOTICE: All video and audio content protected by copyright. Any use of this material is strictly prohibited without expressed consent from original content producer and owner Scott Goldfine, dba FUNKNSTUFF. For inquiries, email info@funknstuff.net. Get your copy of "Everything Is on the One: The First Guide of Funk" today! https://www.amazon.com/gp/product/1541256603/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=1541256603&linkCode=as2&tag=funknstuff-20&linkId=b6c7558ddc7f8fc9fe440c5d9f3c400

In this final episode of Great Minds, Otis Williams, the founder and last surviving member of The Temptations, takes us on a journey through the legendary group's history. From his early days in Texarkana to the vibrant music scene of Detroit, Otis shares how the group evolved from the Distants to Motown superstars. He reflects on pivotal moments, including the addition of David Ruffin and Eddie Kendricks, their breakthrough with "My Girl," and the challenges of navigating fame, racial discrimination, and industry changes. With personal anecdotes, insights into their global impact, and reflections on the group's enduring legacy, this episode is a must-listen for music lovers and Motown enthusiasts alike.

Several years ago, we interviewed Broadway actor Nik Walker on our podcast, and talked all things theme parks. Many people claim to be theme park "nerds." Nik, who played Aaron Burr in Hamilton, Otis Williams in Ain't Too Proud, and Sir Galahad in Spamalot, not only "walks the walk," when it comes to being a theme park fan - he can "talk the talk." Folks, this man literally told People Magazine how big of a theme park fan he is.Nik rejoins the Coaster101 podcast to chat about finding fellow theme park fans in the wild (including his Spamalot co-star Taran Killam), his Halcyon voyage onboard the Star Wars Galactic StarCruiser, his on-going rivalry with James Monroe Iglehart, and how he's hoping to have it written into the contract of his next acting gig that he'll be allowed to miss a technical rehearsal in order to attend the Grand Opening of Universal's Epic Universe. (We're manifesting it, anyway.)Two nerds, nerding out about decidely nerdy things. It's honestly a delightful listen! You can connect with the show by hitting us up on social media @Coaster101: Facebook  |  Twitter  |  Instagram. We also have a website, if you're into that sort of thing: www.coaster101.comAlso, be sure to subscribe to the podcast so you don't miss an episode! And please give us a rating and review wherever you listen, it helps new listeners find us!Find the latest and greatest Coaster101 and theme park-inspired merch at c101.co/teepublic!Thanks to JMMD Entertainment for providing our theme song. For more on them, check out jmmusicdesign.com.

Female urinal at Michigan state park is rare, vintage Michigan urges hunters to shoot more does as deer population swells Temptations' Otis Williams back in Detroit for return of jukebox musical 'Ain't Too Proud'

Everything Co-op Broadcasts Live from the Federation of Southern Cooperatives Land Assistance Fund's 57th Annual Meeting. Vernon interviews Ben Burkette, Tremelle Sherman, and founding members John Zippert, Carol Zippert and Otis Williams. The guests discuss the Annual meeting, history and evolution of the Federation, and the Federation of Southern Cooperatives Land Assistance Fund Memorial Legacy Project. This year marks the 57th anniversary of the Federation's commitment to supporting Black farmers, landowners, cooperatives, and underserved communities in the South. On Thursday, August 15, 2024, the Federation began its festivities for the Annual Meeting with the Estelle Witherspoon Lifetime Achievement Award Ceremony in Birmingham, Alabama. This year the award was presented to U.S. Congressman James E. Clyburn. This award is given in memory of Estelle Witherspoon, a woman whose dedication to the advancement of her community and to all humanity epitomizes the true spirit of community and cooperation. After the awards ceremony on August 15, the Annual Meeting proceeded to the Federation's Rural Training and Research Center near Epes, Alabama on August 16 and 17. At the Epes Center a panel of USDA agency leaders and specialists will present information on the latest developments in USDA programs that support Black farmers, landowners, cooperatives, and rural communities; a series of workshops and demonstrations including Cooperative Development, Marketing, Heirs' Property, and Forestry will be presented; and a discussion of plans for improving farm policies, land retention, and conservation practice will be facilitated.

6-18-24: Temptations founder and music legend Otis Williams joins Mitch and the crew to discuss a Detroit street named in his honor.

For those who haven't heard the announcement I posted , songs from this point on will sometimes be split among multiple episodes, so this is the first part of a two-episode look at the song “I Heard it Through the Grapevine”. This week we take a short look at the song’s writers, Norman Whitfield and Barrett Strong, and the first released version by Gladys Knight and the Pips. In two weeks time we’ll take a longer look at the sixties career of the song’s most famous performer, Marvin Gaye. This episode is quite a light one. That one… won’t be. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode, on “Bend Me Shape Me” by Amen Corner. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources Mixcloud will be up with the next episode. For Motown-related information in this and other Motown episodes, I've used the following resources: Where Did Our Love Go? The Rise and Fall of the Motown Sound by Nelson George is an excellent popular history of the various companies that became Motown. To Be Loved by Berry Gordy is Gordy's own, understandably one-sided, but relatively well-written, autobiography. Women of Motown: An Oral History by Susan Whitall is a collection of interviews with women involved in Motown. I Hear a Symphony: Motown and Crossover R&B by J. Andrew Flory is an academic look at Motown. The Motown Encyclopaedia by Graham Betts is an exhaustive look at the people and records involved in Motown's thirty-year history. Motown: The Golden Years is another Motown encyclopaedia. And Motown Junkies is an infrequently-updated blog looking at (so far) the first 693 tracks released on Motown singles. For information on Marvin Gaye, and his relationship with Norman Whitfield, I relied on Divided Soul: The Life of Marvin Gaye by David Ritz. I’ve also used information on Whitfield in  Ain't Too Proud to Beg: The Troubled Lives and Enduring Soul of the Temptations by Mark Ribowsky, I’ve also referred to interviews with Whitfield and Strong archived at rocksbackpages.com , notably “The Norman Whitfield interview”, John Abbey, Blues & Soul, 1 February 1977 For information about Gladys Knight, I’ve used her autobiography. The best collection of Gladys Knight and the Pips’ music is this 3-CD set, but the best way to hear Motown hits is in the context of other Motown hits. This five-CD box set contains the first five in the Motown Chartbusters series of British compilations. The Pips’ version of “I Heard it Through the Grapevine” is on disc 2, while Marvin Gaye’s is on disc 3, which is famously generally considered one of the best single-disc various artists compilations ever. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, a brief note — this episode contains some brief mentions of miscarriage and drug abuse. The history of modern music would be immeasurably different had it not been for one car breakdown. Norman Whitfield spent the first fifteen years of his life in New York, never leaving the city, until his grandmother died. She’d lived in LA, and that was where the funeral was held, and so the Whitfield family got into a car and drove right across the whole continent — two thousand five hundred miles — to attend the old lady’s funeral. And then after the funeral, they turned round and started to drive home again. But they only got as far as Detroit when the car, understandably, gave up the ghost.  Luckily, like many Black families, they had family in Detroit, and Norman’s aunt was not only willing to put the family up for a while, but her husband was able to give Norman’s father a job in his drug store while he saved up enough money to pay for the car to be fixed. But as it happened, the family liked Detroit, and they never did get around to driving back home to New York. Young Norman in particular took to the city’s nightlife, and soon as well as going to school he was working an evening job at a petrol station — but that was only to supplement the money he made as a pool hustler. Young Norman Whitfield was never going to be the kind of person who took a day job, and so along with his pool he started hanging out with musicians — in particular with Popcorn and the Mohawks, a band led by Popcorn Wylie. [Excerpt: Popcorn and the Mohawks, “Shimmy Gully”] Popcorn and the Mohawks were a band of serious jazz musicians, many of whom, including Wylie himself, went on to be members of the Funk Brothers, the team of session players that played on Motown’s hits — though Wylie would depart Motown fairly early after a falling out with Berry Gordy. They were some of the best musicians in Detroit at the time, and Whitfield would tag along with the group and play tambourine, and sometimes other hand percussion instruments. He wasn’t a serious musician at that point, just hanging out with a bunch of people who were, who were a year or two older than him. But he was learning — one thing that everyone says about Norman Whitfield in his youth is that he was someone who would stand on the periphery of every situation, not getting involved, but soaking in everything that the people around him were doing, and learning from them. And soon, he was playing percussion on sessions. At first, this wasn’t for Motown, but everything in the Detroit music scene connected back to the Gordy family in one way or another. In this case, the label was Thelma Records, which was formed by Berry Gordy’s ex-mother-in-law and named after Gordy’s first wife, who he had recently divorced. Of all the great Motown songwriters and producers, Whitfield’s life is the least-documented, to the extent that the chronology of his early career is very vague and contradictory, and Thelma was such a small label there even seems to be some dispute about when it existed — different sources give different dates, and while Whitfield always said he worked for Thelma records, he might have actually been employed by another label owned by the same people, Ge Ge, which might have operated earlier — but by most accounts Whitfield quickly progressed from session tambourine player to songwriter. According to an article on Whitfield from 1977, the first record of one of his songs was “Alone” by Tommy Storm on Thelma Records, but that record seems not to exist — however, some people on a soul message board, discussing this a few years ago, found an interview with a member of a group called The Fabulous Peps which also featured Storm, saying that their record on Ge Ge Records, “This Love I Have For You”, is a rewrite of that song by Don Davis, Thelma’s head of A&R, though the credit on the label for that is just to Davis and Ron Abner, another member of the group: [Excerpt: The Fabulous Peps, “This Love I Have For You”] So that might, or might not, be the first Norman Whitfield song ever to be released. The other song often credited as Whitfield’s first released song is “Answer Me” by Richard Street and the Distants — Street was another member of the Fabulous Peps, but we’ve encountered him and the Distants before when talking about the Temptations — the Distants were the group that Otis Williams, Melvin Franklin, and Al Bryant had been in before forming the Temptations — and indeed Street would much later rejoin his old bandmates in the Temptations, when Whitfield was producing for them. Unlike the Fabulous Peps track, this one was clearly credited to N. Whitfield, so whatever happened with the Storm track, this is almost certainly Whitfield’s first official credit as a songwriter: [Excerpt: Richard Street and the Distants, “Answer Me”] He was soon writing songs for a lot of small labels — most of which appear to have been recorded by the Thelma team and then licensed out — like “I’ve Gotten Over You” by the Sonnettes: [Excerpt: The Sonnettes, “I’ve Gotten Over You”] That was on KO Records, distributed by Scepter, and was a minor local hit — enough to finally bring Whitfield to the attention of Berry Gordy. According to many sources, Whitfield had been hanging around Hitsville for months trying to get a job with the label, but as he told the story in 1977 “Berry Gordy had sent Mickey Stevenson over to see me about signing with the company as an exclusive in-house writer and producer. The first act I was assigned to was Marvin Gaye and he had just started to become popular.” That’s not quite how the story went. According to everyone else, he was constantly hanging around Hitsville, getting himself into sessions and just watching them, and pestering people to let him get involved. Rather than being employed as a writer and producer, he was actually given a job in Motown’s quality control department for fifteen dollars a week, listening to potential records and seeing which ones he thought were hits, and rating them before they went to the regular department meetings for feedback from the truly important people. But he was also allowed to write songs. His first songwriting credit on a Motown record wasn’t Marvin Gaye, as Whitfield would later tell the story, but was in fact for the far less prestigious Mickey Woods — possibly the single least-known artist of Motown’s early years. Woods was a white teenager, the first white male solo artist signed to Motown, who released two novelty teen-pop singles. Whitfield’s first Motown song was the B-side to Woods’ second single, a knock-off of Sam Cooke’s “Cupid” called “They Call Me Cupid”, co-written with Berry Gordy and Brian Holland: [Excerpt: Mickey Woods, “They Call Me Cupid”] Unsurprisingly that didn’t set the world on fire, and Whitfield didn’t get another Motown label credit for thirteen months (though some of his songs for Thelma may have come out in this period). When he did, it was as co-writer with Mickey Stevenson — and, for the first time, sole producer — of the first single for a new singer, Kim Weston: [Excerpt: Kim Weston, “It Should Have Been Me”] As it turned out, that wasn’t a hit, but the flip-side, “Love Me All The Way”, co-written by Stevenson (who was also Weston’s husband) and Barney Ales, did become a minor hit, making the R&B top thirty. After that, Whitfield was on his way. It was only a month later that he wrote his first song for the Temptations, a B-side, “The Further You Look, The Less You See”: [Excerpt: The Temptations, “The Further You Look, The Less You See”] That was co-written with Smokey Robinson, and as we heard in the episode on “My Girl”, both Robinson and Whitfield vied with each other for the job of Temptations writer and producer. As we also heard in that episode, Robinson got the majority of the group’s singles for the next couple of years, but Whitfield would eventually take over from him. Whitfield’s work with the Temptations is probably his most important work as a writer and producer, and the Temptations story is intertwined deeply with this one, but for the most part I’m going to save discussion of Whitfield’s work with the group until we get to 1972, so bear with me if I seem to skim over that — and if I repeat myself in a couple of years when we get there. Whitfield’s first major success, though, was also the first top ten hit for Marvin Gaye, “Pride and Joy”: [Excerpt: Marvin Gaye, “Pride and Joy”] “Pride and Joy” had actually been written and recorded before the Kim Weston and Temptations tracks, and was intended as album filler — it was written during a session by Whitfield, Gaye, and Mickey Stevenson who was also the producer of the track, and recorded in the same session as it was written, with Martha and the Vandellas on backing vocals. The intended hit from the session, “Hitch-Hike”, we covered in the previous episode on Gaye, but that was successful enough that an album, That Stubborn Kinda Fellow, was released, with “Pride and Joy” on it. A few months later Gaye recut his lead vocal, over the same backing track, and the record was released as a single, reaching number ten on the pop charts and number two R&B: [Excerpt: Marvin Gaye, “Pride and Joy”] Whitfield had other successes as well, often as B-sides. “The Girl’s Alright With Me”, the B-side to Smokey Robinson’s hit for the Temptations “I’ll Be In Trouble”, went to number forty on the R&B chart in its own right: [Excerpt: The Temptations, “The Girl’s Alright With Me”] That was co-written with Eddie Holland, and Holland and Whitfield had a minor songwriting partnership at this time, with Holland writing lyrics and Whitfield the music. Eddie Holland even released a Holland and Whitfield collaboration himself during his brief attempt at a singing career — “I Couldn’t Cry if I Wanted To” was a song they wrote for the Temptations, who recorded it but then left it on the shelf for four years, so Holland put out his own version, again as a B-side: [Excerpt: Eddie Holland, “I Couldn’t Cry if I Wanted To”] Whitfield was very much a B-side kind of songwriter and producer at this point — but this could be to his advantage. In January 1963, around the same time as all these other tracks, he cut a filler track with the “no-hit Supremes”, “He Means the World to Me”, which was left on the shelf until they needed a B-side eighteen months later and pulled it out and released it: [Excerpt: The Supremes, “He Means the World to Me”] But the track that that was a B-side to was “Where Did Our Love Go?”, and at the time you could make a lot of money from writing the B-side to a hit that big. Indeed, at first, Whitfield made more money from “Where Did Our Love Go?” than Holland, Dozier, or Holland, because he got a hundred percent of the songwriters’ share for his side of the record, while they had to split their share three ways. Slowly Whitfield moved from being a B-side writer to being an A-side writer. With Eddie Holland he was given a chance at a Temptations A-side for the first time, with “Girl, (Why You Wanna Make Me Blue)”: [Excerpt: The Temptations, “Girl (Why You Wanna Make Me Blue)”] He also wrote for Jimmy Ruffin, but in 1964 it was with girl groups that Whitfield was doing his best work. With Mickey Stevenson he wrote “Needle in a Haystack” for the Velvettes: [Excerpt: The Velvettes, “Needle in a Haystack”] He wrote their classic followup “He Was Really Sayin' Somethin’” with Stevenson and Eddie Holland, and with Holland he also wrote “Too Many Fish in the Sea” for the Marvelettes: [Excerpt: The Marvelettes, “Too Many Fish In The Sea”] By late 1964, Whitfield wasn’t quite in the first rank of Motown songwriter-producers with Holland-Dozier-Holland and Smokey Robinson, but he was in the upper part of the second tier with Mickey Stevenson and Clarence Paul. And by early 1966, as we saw in the episode on “My Girl”, he had achieved what he’d wanted for four years, and become the Temptations’ primary writer and producer. As I said, we’re going to look at Whitfield’s time working with the Temptations later, but in 1966 and 67 they were the act he was most associated with, and in particular, he collaborated with Eddie Holland on three top ten hits for the group in 1966. But as we discussed in the episode on “I Can’t Help Myself”, Holland’s collaborations with Whitfield eventually caused problems for Holland with his other collaborators, when he won the BMI award for writing the most hit songs, depriving his brother and Lamont Dozier of their share of the award because his outside collaborations put him ahead of them. While Whitfield *could* write songs by himself, and had in the past, he was at his best as a collaborator — as well as his writing partnership with Eddie Holland he’d written with Mickey Stevenson, Marvin Gaye, and Janie Bradford. And so when Holland told him he was no longer able to work together, Whitfield started looking for someone else who could write lyrics for him, and he soon found someone: [Excerpt: Barrett Strong, “Money”] Barrett Strong had, of course, been the very first Motown act to have a major national hit, with “Money”, but as we discussed in the episode on that song he had been unable to have a follow-up hit, and had actually gone back to working on an assembly line for a while. But when you’ve had a hit as big as “Money”, working on an assembly line loses what little lustre it has, and Strong soon took himself off to New York and started hanging around the Brill Building, where he hooked up with Doc Pomus and Mort Shuman, the writers of such hits as “Save the Last Dance for Me”, “Viva Las Vegas”, “Sweets for My Sweet”, and “A Teenager in Love”.  Pomus and Shuman, according to Strong, signed him to a management contract, and they got him signed to Atlantic’s subsidiary Atco, where he recorded one single, “Seven Sins”, written and produced by the team: [Excerpt: Barrett Strong, “Seven Sins”] That was a flop, and Strong was dropped by the label. He bounced around a few cities before ending up in Chicago, where he signed to VeeJay Records and put out one more single as a performer, “Make Up Your Mind”, which also went nowhere: [Excerpt: Barrett Strong, “Make Up Your Mind”] Strong had co-written that, and as his performing career was now definitively over, he decided to move into songwriting as his main job. He co-wrote “Stay in My Corner” for the Dells, which was a top thirty R&B hit for them on VeeJay in 1965 and in a remade version in 1968 became a number one R&B hit and top ten pop hit for them: [Excerpt: The Dells, “Stay in My Corner”] And on his own he wrote another top thirty R&B hit, “This Heart of Mine”, for the Artistics: [Excerpt: The Artistics, “This Heart of Mine”] He wrote several other songs that had some minor success in 1965 and 66, before moving back to Detroit and hooking up again with his old label, this time coming to them as a songwriter with a track record rather than a one-hit wonder singer. As Strong put it “They were doing my style of music then, they were doing something a little different when I left, but they were doing the more soulful, R&B-style stuff, so I thought I had a place there. So I had an idea I thought I could take back and see if they could do something with it.” That idea was the first song he wrote under his new contract, and it was co-written with Norman Whitfield. It’s difficult to know how Whitfield and Strong started writing together, or much about their writing partnership, even though it was one of the most successful songwriting teams of the era, because neither man was interviewed in any great depth, and there’s almost no long-form writing on either of them. What does seem to have been the case is that both men had been aware of each other in the late fifties, when Strong was a budding R&B star and Whitfield merely a teenager hanging round watching the cool kids. The two may even have written together before — in an example of how the chronology for both Whitfield and Strong seems to make no sense, Whitfield had cowritten a song with Marvin Gaye, “Wherever I Lay My Hat, That’s My Home”, in 1962 — when Strong was supposedly away from Motown — and it had been included as an album track on the That Stubborn Kinda Fellow album: [Excerpt: Marvin Gaye, “Wherever I Lay My Hat, That’s My Home”] The writing on that was originally credited just to Whitfield and Gaye on the labels, but it is now credited to Whitfield, Gaye, and Strong, including with BMI. Similarly Gaye’s 1965 album track “Me and My Lonely Room” — recorded in 1963 but held back – was initially credited to Whitfield alone but is now credited to Whitfield and Strong, in a strange inverse of the way “Money” initially had Strong’s credit but it was later removed. But whether this was an administrative decision made later, or whether Strong had been moonlighting for Motown uncredited in 1962 and collaborated with Whitfield, they hadn’t been a formal writing team in the way Whitfield and Holland had been, and both later seemed to date their collaboration proper as starting in 1966 when Strong returned to Motown — and understandably. The two songs they’d written earlier – if indeed they had – had been album filler, but between 1967 when the first of their new collaborations came out and 1972 when they split up, they wrote twenty-three top forty hits together. Theirs seems to have been a purely business relationship — in the few interviews with Strong he talks about Whitfield as someone he was friendly with, but Whitfield’s comments on Strong seem always to be the kind of very careful comments one would make about someone for whom one has a great deal of professional respect, a great deal of personal dislike, but absolutely no wish to air the dirty laundry behind that dislike, or to burn bridges that don’t need burning. Either way, Whitfield was in need of a songwriting partner when Barrett Strong walked into a Motown rehearsal room, and recognised that Strong’s talents were complementary to his. So he told Strong, straight out, “I’ve had quite a few hit records already. If you write with me, I can guarantee you you’ll make at least a hundred thousand dollars a year” — though he went on to emphasise that that wasn’t a guarantee-guarantee, and would depend on Strong putting the work in. Strong agreed, and the first idea he brought in for his new team earned both of them more than that hundred thousand dollars by itself. Strong had been struck by the common phrase “I heard it through the grapevine”, and started singing that line over some Ray Charles style gospel chords. Norman Whitfield knew a hook when he heard one, and quickly started to build a full song around Strong’s line. Initially, by at least some accounts, they wanted to place the song with the Isley Brothers, who had just signed to Motown and had a hit with the Holland-Dozier-Holland song “This Old Heart of Mine”: [Excerpt: The Isley Brothers, “This Old Heart of Mine (Is Weak For You)”] For whatever reason, the Isley Brothers didn’t record the song, or if they did no copy of the recording has ever surfaced, though it does seem perfectly suited to their gospel-inflected style. The Isleys did, though, record another early Whitfield and Strong song, “That’s the Way Love Is”, which came out in 1967 as a flop single, but would later be covered more successfully by Marvin Gaye: [Excerpt: The Isley Brothers, “That’s the Way Love Is”] Instead, the song was first recorded by the Miracles. And here the story becomes somewhat murky. We have a recording by the Miracles, released on an album two years later, but some have suggested that that version isn’t the same recording they made in 1966 when Whitfield and Strong wrote the song originally: [Excerpt: Smokey Robinson and the Miracles, “I Heard it Through the Grapevine”] It certainly sounds to my ears like that is probably the version of the song the group recorded in 66 — it sounds, frankly, like a demo for the later, more famous version. All the main elements are there — notably the main Ray Charles style hook played simultaneously on Hammond organ and electric piano, and the almost skanking rhythm guitar stabs — but Smokey Robinson’s vocal isn’t *quite* passionate enough, the tempo is slightly off, and the drums don’t have the same cavernous rack tom sound that they have in the more famous version. If you weren’t familiar with the eventual hit, it would sound like a classic Motown track, but as it is it’s missing something… [Excerpt: Smokey Robinson and the Miracles, “I Heard it Through the Grapevine”] According to at least some sources, that was presented to the quality control team — the team in which Whitfield had started his career, as a potential single, but they dismissed it. It wasn’t a hit, and Berry Gordy said it was one of the worst songs he’d ever heard. But Whitfield knew the song was a hit, and so he went back into the studio and cut a new backing track: [Excerpt: Marvin Gaye, “I Heard it Through the Grapevine (backing track only)”] (Incidentally, no official release of the instrumental backing track for “I Heard it Through the Grapevine” exists, and I had to put that one together myself by taking the isolated parts someone had uploaded to youtube and synching them back together in editing software, so if there are some microsecond-level discrepancies between the instruments there, that’s on me, not on the Funk Brothers.) That track was originally intended for the Temptations, with whom Whitfield was making a series of hits at the time, but they never recorded it at the time. Whitfield did produce a version for them as an album track a couple of years later though, so we have an idea how they might have taken the song vocally — though by then David Ruffin had been replaced in the group by Dennis Edwards: [Excerpt: The Temptations, “I Heard it Through the Grapevine”] But instead of giving the song to the Temptations, Whitfield kept it back for Marvin Gaye, the singer with whom he’d had his first big breakthrough hit and for whom his two previous collaborations with Strong – if collaborations they were – had been written. Gaye and Whitfield didn’t get on very well — indeed, it seems that Whitfield didn’t get on very well with *anyone* — and Gaye would later complain about the occasions when Whitfield produced his records, saying “Norman and I came within a fraction of an inch of fighting. He thought I was a prick because I wasn't about to be intimidated by him. We clashed. He made me sing in keys much higher than I was used to. He had me reaching for notes that caused my throat veins to bulge.” But Gaye sang the song fantastically, and Whitfield was absolutely certain they had a sure-fire hit: [Excerpt: Marvin Gaye, “I Heard it Through the Grapevine”] But once again the quality control department refused to release the track. Indeed, it was Berry Gordy personally who decided, against the wishes of most of the department by all accounts, that instead of “I Heard it Through the Grapevine” Gaye’s next single should be a Holland-Dozier-Holland track, “Your Unchanging Love”, a soundalike rewrite of their earlier hit for him, “How Sweet It Is”. “Your Unchanging Love” made the top thirty, but was hardly a massive success. Gordy has later claimed that he always liked “Grapevine” but just thought it was a bit too experimental for Gaye’s image at the time, but reports from others who were there say that what Gordy actually said was “it sucks”. So “I Heard it Through the Grapevine” was left on the shelf, and the first fruit of the new Whitfield/Strong team to actually get released was “Gonna Give Her All the Love I’ve Got”, written for Jimmy Ruffin, the brother of Temptations lead singer David, who had had one big hit, “What Becomes of the Brokenhearted” and one medium one, “I’ve Passed This Way Before”, in 1966. Released in 1967, “Gonna Give Her All the Love I’ve Got” became Ruffin’s third and final hit, making number 29: [Excerpt: Jimmy Ruffin, “Gonna Give Her All the Love I’ve Got”] But Whitfield was still certain that “Grapevine” could be a hit. And then in 1967, a few months after he’d shelved Gaye’s version, came the record that changed everything in soul: [Excerpt: Aretha Franklin, “Respect”] Whitfield was astounded by that record, but also became determined he was going to “out-funk Aretha”, and “I Heard it Through the Grapevine” was going to be the way to do it. And he knew someone who thought she could do just that. Gladys Knight never got on well with Aretha Franklin. According to Knight’s autobiography this was one-sided on Franklin’s part, and Knight was always friendly to Franklin, but it’s also notable that she says the same about several other of the great sixties female soul singers (though not all of them by any means), and there seems to be a general pattern among those singers that they felt threatened by each other and that their own position in the industry was precarious, in a way the male singers usually didn’t. But Knight claimed she always *wished* she got on well with Franklin, because the two had such similar lives. They’d both started out singing gospel as child performers before moving on to the chitlin circuit at an early age, though Knight started her singing career even younger than Franklin did. Knight was only four when she started performing solos in church, and by the age of eight she had won the two thousand dollar top prize on Ted Mack’s Amateur Hour by singing Brahms’ “Lullaby” and the Nat “King” Cole hit “Too Young”: [Excerpt: Nat “King” Cole, “Too Young”] That success inspired her, and she soon formed a vocal group with her brother Bubba, sister Brenda and their cousins William and Eleanor Guest. They named themselves the Pips in honour of a cousin whose nickname that was, and started performing at talent contests in Atlanta Chitlin’ Circuit venues. They soon got a regular gig at one of them, the Peacock, despite them all being pre-teens at the time. The Pips also started touring, and came to the attention of Maurice King, the musical director of the Flame nightclub in Detroit, who became a vocal coach for the group. King got the group signed to Brunswick records, where they released their first single, a song King had written called “Whistle My Love”: [Excerpt: The Pips, “Whistle My Love”] According to Knight that came out in 1955, when she was eleven, but most other sources have it coming out in 1958. The group’s first two singles flopped, and Brenda and Eleanor quit the group, being replaced by another cousin, Edward Patten, and an unrelated singer Langston George, leaving Knight as the only girl in the quintet. While the group weren’t successful on records, they were getting a reputation live and toured on package tours with Sam Cooke, Jackie Wilson, and others. Knight also did some solo performances with a jazz band led by her music teacher, and started dating that band’s sax player, Jimmy Newman. The group’s next recording was much more successful. They went into a makeshift studio owned by a local club owner, Fats Hunter, and recorded what they thought was a demo, a version of the Johnny Otis song “Every Beat of My Heart”: [Excerpt: The Pips, “Every Beat of My Heart (HunTom version)”] The first they knew that Hunter had released that on his own small label was when they heard it on the radio. The record was picked up by VeeJay records, and it ended up going to number one on the R&B charts and number six on the pop charts, but they never saw any royalties from it. It brought them to the attention of another small label, Fury Records, which got them to rerecord the song, and that version *also* made the R&B top twenty and got as high as number forty-five on the pop charts: [Excerpt: Gladys Knight and the Pips, “Every Beat of My Heart (Fury version)”] However, just because they had a contract with Fury didn’t mean they actually got any more money, and Knight has talked about the label’s ownership being involved with gangsters. That was the first recording to be released as by “Gladys Knight and the Pips”, rather than just The Pips, and they would release a few more singles on Fury, including a second top twenty pop hit, the Don Covay song “Letter Full of Tears”: [Excerpt: Gladys Knight and the Pips, “Letter Full of Tears”] But Knight had got married to Newman, who was by now the group’s musical director, after she fell pregnant when she was sixteen and he was twenty. However, that first pregnancy tragically ended in miscarriage, and when she became pregnant again she decided to get off the road to reduce the risk. She spent a couple of years at home, having two children, while the other Pips – minus George who left soon after – continued without her to little success. But her marriage was starting to deteriorate under pressure of Newman’s drug use — they wouldn’t officially divorce until 1972, but they were already feeling the pressure, and would split up sooner rather than later — and Knight  returned to the stage, initially as a solo artist or duetting with Jerry Butler, but soon rejoining the Pips, who by this time were based in New York and working with the choreographer Cholly Atkins to improve their stagecraft. For the next few years the Pips drifted from label to label, scoring one more top forty hit in 1964 with Van McCoy’s “Giving Up”, but generally just getting by like so many other acts on the circuit. Eventually the group ended up moving to Detroit, and hooking up with Motown, where mentors like Cholly Atkins and Maurice King were already working. At first they thought they were taking a step up, but they soon found that they were a lower tier Motown act, considered on a par with the Spinners or the Contours rather than the big acts, and according to Knight they got pulled off an early Motown package tour because Diana Ross, with whom like Franklin Knight had something of a rivalry, thought they were too good on stage and were in danger of overshadowing her. Knight says in her autobiography that they “formed a little club of our own with some of the other malcontents” with Martha Reeves, Marvin Gaye, and someone she refers to as “Ivory Joe Hunter” but I presume she means Ivy Jo Hunter (one of the big problems when dealing with R&B musicians of this era is the number of people with similar names. Ivy Jo Hunter, Joe Hunter, and Ivory Joe Hunter were all R&B musicians for whom keyboard was their primary instrument, and both Ivy Jo and just plain Joe worked for Motown at different points, but Ivory Joe never did) Norman Whitfield was also part of that group of “malcontents”, and he was also the producer of the Pips’ first few singles for Motown, and so when he was looking for someone to outdo Aretha, someone with something to prove, he turned to them. He gave the group the demo tape, and they worked out a vocal arrangement for a radically different version of the song, one inspired by “Respect”: [Excerpt: Gladys Knight and the Pips, “I Heard it Through the Grapevine”] The third time was the charm, and quality control finally agreed to release “I Heard it Through the Grapevine” as a single. Gladys Knight always claimed it had no promotion, but Norman Whitfield’s persistence had paid off — the single went to number two on the pop charts (kept off the top by “Daydream Believer”), number one on the R&B charts, and became Motown’s biggest-selling single *ever* up until that point. It also got Knight a Grammy nomination for Best R&B Vocal Performance, Female — though the Grammy committee, at least, didn’t think she’d out-Aretha’d Aretha, as “Respect” won the award. And that, sadly, sort of summed up Gladys Knight and the Pips at Motown — they remained not quite the winners in everything. There’s no shame in being at number two behind a classic single like “Daydream Believer”, and certainly no shame in losing the Grammy to Aretha Franklin at her best, but until they left Motown in 1972 and started their run of hits on Buddah records, Gladys Knight and the Pips would always be in other people’s shadow. That even extended to “I Heard It Through the Grapevine” when, as we’ll hear in part two of this story, Norman Whitfield’s persistence paid off, Marvin Gaye’s version got released as a single, and *that* became the biggest-selling single on Motown ever, outselling the Pips version and making it forever his song, not theirs. And as a final coda to the story of Gladys Knight and the Pips at Motown, while they were touring off the back of “Grapevine’s” success, the Pips ran into someone they vaguely knew from his time as a musician in the fifties, who was promoting a group he was managing made up of his sons. Knight thought they had something, and got in touch with Motown several times trying to get them to sign the group, but she was ignored. After a few attempts, though, Bobby Taylor of another second-tier Motown group, the Vancouvers, also saw them and got in touch with Motown, and this time they got signed. But that story wasn’t good enough for Motown, and so neither Taylor nor Knight got the credit for discovering the group. Instead when Joe Jackson’s sons’ band made their first album, it was titled Diana Ross Presents the Jackson 5. But that, of course, is a story for another time…

From playing Aaron Burr in the Broadway smash hit Hamilton, to playing Sir Galahad in the Broadway Revival of Spamalot, Nik Walker has an unparalleled range. U Guys, this week's BroadwayWorld Recap has all the latest Bway updates! Then I am joined by actor and writer Nik Walker to talk about his amazing career! From performing in two different Broadway productions of Motown The Musical, to playing Otis Williams in Ain't Too Proud, Nik shares about the experience of bringing black stories to the Broadway stage. He also shares about his own original shows, and talks about how much fun he is having playing Sir Galahad in the highly acclaimed Bway revival of Spamalot, now running through April 7th, 2024. Nik is lovely and hilarious, U don't wanna miss this episode! Follow Nik on Instagram: @nikkywalks Follow the pod on Instagram: @ohmypoduguys Learn more about your ad choices. Visit megaphone.fm/adchoices

Johnny Cash was a prolific hitmaker in the mid 50's to early 60's.  In the late 60's  he released a couple of live albums which had crossover appeal:  "Johnny Cash at Folsom Prison," and "Johnny Cash at San Quentin."  By 1969, Johnny Cash had become an international musical success, selling more records than the Beatles at the time.Cash had left his original label, Sun Records, back in 1958.  However, he had left an extensive catalogue of songs with Sam Phillips at Sun.  Given his success and the upcoming Johnny Cash TV show, Sun Records decided it would be a good time to release a compilation of his earlier hits from 1954 through 1958.  This compilation was released on two albums, "Original Golden Hits, Volume I" and "Original Golden Hits, Volume II," which reached numbers 4 and 3 on the US Country charts respectively.  Cash would go on to fame in TV and film in the 70's, and would continue recording up until his death in 2003.While not strictly rock music, the Man in Black was an icon of American music and an inspiration for many in country, rock, and pop genres.  It is also a special memory for Wayne, as he listened to this  8-track as he traveled with his father out of California to Alabama.Wayne takes us through this greatest hits album for today's podcast. Home of the BluesThe inspiration for this song was the "Home of the Blues" record shop on Beale Street in Memphis, Tennessee.  The store which was open from the late 40's until the mid 70's was a place he used to hang out, buy records, and meet other musicians. Hey PorterThis is Cash's first recorded song.  The setting is just after World War II, and the song focuses on a man returning home from overseas who feels elated to be returning to his native South, the last leg of which is by train.  Note that there is no percussion in this song, but Cash played his guitar with dampened strings to acquire a percussive effect.I Walk the LineJohnny Cash's first number 1 hit on the Billboard country charts eventually crossed over to the US pop charts, reaching number 17 and selling over 2 million copies in the United States.  The lyrics reflect temptations and the need to be accountable for your actions.  The frequent key changes make this song distinctive.Get RhythmThis was the B-side to "I Walk the Line."  It was re-released in 1969 as an A-side, and went to number 60 on the Billboard pop chart.   ENTERTAINMENT TRACK:Main theme from the television series “Fat Albert”The origin of Bill Cosby's animated series was an animated primetime television special that first aired on NBC on November 12, 1969.  STAFF PICKS:Birthday by Underground SunshineRob starts off the staff picks with a cover of the Beatles song by a group from Wisconsin.  The band had been around for a few years, but this cover helped them attain greater success.  Their cover made it to number 26 on the Billboard Hot 100.  Down on the Corner by Credence Clearwater RevivalLynch's staff pick is one of the best known songs by CCR.  The song talks about a band called "Willy and the Poor Boys" playing in the street for spare change.  It went to number 3 on the Billboard Hot 100 by the end of 1969.  I Can't Get Next to You by The Temptations Bruce gets us all moving with the number 1 single from David Ruffin, Melvin Franklin, Otis Williams, Eddie Kendricks, and Paul Williams - better known as The Temptations.  This was the second of four number 1 hits from the group, and was written by Norman Whitfield and Barrett Strong for the Motown label. I'm Tired by Savoy BrownWayne's staff pick charted at number 74 on the top 100, and has a very heavy electric blues feel.  Three members of this group out of London would go on to form Foghat.  The group's name came from American Blues label Savoy Records - a name that had an elegant sound.  "Brown" was added as an extremely plain word that contrasted nicely with the elegance of "Savoy." INSTRUMENTAL TRACK:Treat by SantanaSantana would produce a number of excellent instrumental hits during his decades in the rock scene, and this one is from his debut album. Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

Broadway and Tv actor and writer, Nik Walker joins us to Take A Bow for his work in the entertainment industry. Nik is a true student of the art and takes you through his philosophies and ideologies of how to approach text as an actor. Hear all about: Journey to becoming a performer/storyteller What excites him most as an actor Why are stakes important How can being an actor, a writer, and a director all at the same time impact your work How taxing a role can be and how to take care of yourself Hamilton Hardest part of performing HAMILTON Spamalot Sharing a stage with your best friends (Alex Brightman, Christopher Fitzgerald, Ethan Slater, Leslie Kritzer, James Monroe Iglehart, etc.) How Motown influenced Broadway + So much more! Curtain up, Nik Walker Connect with Nik Walker on Instagram: @nikkywalks Bio: Nik Walker is a Boston native, theme park nerd and proud NYU Tisch alum (Adler, Classical and Stonestreet)- who's been earning a living in the industry for a decade and counting. He's been seen on Broadway as Aaron Burr in Hamilton, Otis Williams in Ain't Too Proud, and as Sir Galahad in the revival of Spamalot; on screen in Blue Bloods, Law and Order SVU, and in the upcoming AppleTV+ film The Instigators, alongside his hometown hero Matt Damon. Cleaners, the animated series that he created and writes with partner Alex Brightman, is in development at Warner Bros. Animation, and his musical, Whiskeyland, is being developed with veteran producers Hunter Arnold and Tina Cocumelli at TBD Theatricals. He is the co-host of the arts/activism show The Chaos Twins, and his movie podcast, Little Justice, is streaming where ever podcasts are imbibed. In the free time between all of this, Nik can either be found writing plays at a coffee shop, teaching incredible NYU students, or annoying his talented wife, Sarah Joyce. Connect with Take A Bow on social: @takeabowpodcast Connect with host, Eli Tokash on social: @tokash_eli Learn more about your ad choices. Visit megaphone.fm/adchoices

Ever felt like you're on autopilot, stuck in the grind while your dreams collect dust on the shelf? Dr. Sherrie Gilbert, a beacon of inspiration and senior lecturer at Auburn University, joins us to shake us awake with her story of reigniting passions and rewriting the script of life. Together, we unearth the seeds of ambition that lie dormant within us all, discussing her path from an unpaid internship to becoming an author. Her tale is a clarion call to embrace a life that sings with joy and purpose, not just one that ticks the boxes of societal success.As the conversation flows, we uncover the art of balancing professional drive with the riches of personal life. I mirror Dr. Gilbert's insights with my own experiences, reflecting on how the precious currency of time must be spent wisely. Drawing parallels with Fink's backward design approach, listeners will uncover how to architect a 'personal syllabus' for life, ensuring that the pursuit of goals dovetails with the cultivation of a fulfilling existence. It's about sowing the seeds of your aspirations and tending to them with the same dedication you'd give to a blooming garden.Capping off our discussion, we delve into the heart of dreams and their power to transform not just our own lives, but also to act as a beacon for others.  Sherrie shares a glimpse into her upcoming book, a manifesto of the values she imparts to her students and the potent bonds formed through authenticity and shared aspirations. We celebrate the notion that it's never too late to chase what truly sets your heart ablaze, highlighting her encounters with legendary individuals like Otis Williams of the Temptations. Join us and be inspired to not only chase your dreams but to light the way for others as well.https://www.amazon.com/Make-Happen-Creating-Instead-Settling/dp/B0CDNSH8BH Go check out all of our episodes on our website: https://womeninthearena.net/If you are ready to tell your story or want to refer someone, please email me at audra@womeninthearena.net ***Last thing- I'd love to interview the following women: Joan Jett Dolly Parton Viola Davis Ina Garten Maybe you can help me get there****Thank you all for supporting this show and all of the Women in the Arena!!

Norris Howard is in and we're talking... 02:46 - Jer went to "Ain't too proud to beg" at the Fisher Theatre, and saw the story of the Temptations. Excellent performance, and as a surprise, saw Dr. Otis Williams himself (one of the original Temptations).  06:23 - Norris is off traveling next week 07:19 - Refurbished Toronto transit cars may be coming to Detroit to help bolster the Detroit People Mover. Also, a free ride pilot program starts in January. We discuss it all. 14:24 - Is Bird not the word anymore? Bird filed for bankruptcy. Though it'll still operate, the bigger question is - is the scooter craze done? 18:53 - We discuss some of your very local Festivus grievances  Feedback as always - dailydetroit - at - gmail - dot - com or 313-789-3211 Follow us on Apple Podcasts: https://lnk.to/dailydetroitonapple  Or Spotify: https://lnk.to/dailydetroitonspotify  Thanks to our members: http://www.patreon.com/dailydetroit  Or those who do a one-time contribution: http://www.buymeacoffee.com/dailydetroit  

Broadway star Nik Walker (Hamilton) joins The Art of Kindness with Robert Peterpaul to discuss kindness in the theatre, the sparkling "mishap" this is his new bway show Spamalot, holding space for others, Batman and more. About Nik Walker: Nik Walker is a Boston native, theme park nerd, NYU professor, and NYU Tisch alumni (Adler, Classical and Stonestreet), who's been earning a living in “The Industry” for a decade and counting. He's been seen on Broadway as Aaron Burr in Hamilton, Otis Williams in Ain't Too Proud, and as Sir Galahad in the revival of Spamalot; onscreen in Blue Bloods, Law and Order SVU, and in the upcoming AppleTV+ film The Instigators, alongside his hometown hero Matt Damon. Cleaners, the animated series that he created and wrote with writing partner Alex Brightman, is in development at Warner Bros. Animation, and his musical Whiskeyland, is in workshops after a successful breakout performance at Orlando Fringe. He is the co-host of the arts/activism show The Chaos Twins, and his movie podcast, Little Justice, is streaming wherever podcasts are imbibed. Follow Nik: @nikkywalks Follow us: @artofkindnesspod / @robpeterpaul Support the show! (https://www.buymeacoffee.com/theaok) Music: "Awake" by Ricky Alvarez & "Sunshine" by Lemon Music Studio. Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Funky Pearls Radio, where we're diving into the extraordinary saga of The Temptations , a group that not only defined the sound of Motown but reshaped the landscape of soul music.  The Temptations' journey began in 1961 in Detroit, Michigan, with the merging of two R&B groups: The Primes and The Distants.  This union birthed a legendary ensemble featuring talents like Eddie Kendricks, Paul Williams, Melvin Franklin, Eldridge Bryant, and Otis Williams. Initially known as the Elgins, they soon became The Temptations at Berry Gordy's suggestion, signing with his Motown Records.  This marked the beginning of a musical revolution. Their early work with Smokey Robinson set the stage for a series of hits that would become the soundtrack of a generation.  The group's dynamics shifted with the arrival of David Ruffin in 1963. His raw vocal power, coupled with Kendricks' falsetto, created a musical synergy that propelled The Temptations to new heights.  Hits like 'My Girl' and 'It's Growing' showcased their unique blend of soulful harmonies and catchy rhythms. By the late '60s,  Norman Whitfield took over as their producer, ushering in a new era of psychedelic soul. This period saw the group tackle more socially conscious themes, reflecting the tumultuous times. Songs like 'Cloud Nine' and 'Ball Of Confusion' not only topped charts but also captured the essence of a nation in flux. However, this period was not without its challenges.  Internal conflicts led to Ruffin's departure in 1968, and Eddie Kendricks left in 1971 to pursue a solo career.  Despite these changes, The Temptations continued to evolve, with hits like 'Papa Was A Rolling Stone' showcasing their adaptability and continued relevance.  Tragedy struck with the deaths of Paul Williams in 1973 and later Ruffin and Kendricks. Yet, The Temptations persevered, with Otis Williams remaining as the backbone of the group.  They continued to record and perform, embracing new sounds and trends while staying true to their soulful roots. The 1990s and 2000s saw The Temptations continue to release new music, including the Grammy-winning 'Phoenix Rising' and 'Ear-resistable'.  Their ability to adapt and evolve while maintaining their signature sound is a testament to their enduring legacy. As we celebrate The Temptations on Funky Pearls Radio, we honor not just their music but their journey.  From the streets of Detroit to the pinnacle of Motown fame, The Temptations' story is one of resilience, innovation, and the transformative power of music.  Their legacy continues to inspire and resonate, proving that true musical greatness stands the test of time.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Otis Williams looked to be on top of the world. He had a successful military career, beat out 10,000 other contestants to win the ToastMasters World Championship of Public Speaking, and had secured a successful teaching position at Cincinnati State University. But underneath, a debilitating gambling addiction was eroding it all away.  For the first time on such a wide-reaching platform, Otis takes us back to that dark place, and the bold minority positions he took to reclaim his life. He also shares stories from his time in the service, tips for engaging an audience, and why vulnerability is a super power.  This is the second episode in an 5-part series called Five Marks Summer, celebrating the repackaged publication of Brian's best-selling book, The Five Marks of a Man. Pre-order the newest edition, or the companion Tactical Guide, at briantome.com/fivemarks and get a complimentary poster with each purchase.

Sifiso Mazibuko and Kyle Cox are currently playing Otis Williams and Paul Williams in the original West End cast of Ain't Too Proud - The Life and Times of The Temptations. Having opened on Broadway in 2019, Ain't Too Proud  opened in London to huge acclaim earlier this year. The show follows the remarkable journey of The Temptations from the streets of Detroit to the Rock & Roll Hall of Fame.Some of Sifiso's theatre credits include: Malindadzimu (Hampstead Theatre) and Motown The Musical (Shaftesbury Theatre). He was a standby in the original West End cast of Hamilton (Victoria Palace Theatre) and went on to takeover as Aaron Burr in the musical's second year. A recent graduate from ArtsEd, Kyle played Wyatt in Crazy For You (Chichester Festival Theatre) before making his West End debut in the ensemble of Elf The Musical (Dominion Theatre).Ain't Too Proud recently extended its run at the Prince Edward Theatre until 7th January 2024.Hosted by Andrew Tomlins  @AndrewTomlins32  Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts.  

Otis Williams and The Midnight Cowboys - "I Wanna Go Country" - Otis Williams and The Midnight Cowboys Gosdin Brothers - "Louisiana Man" [0:01:54] Old Lady - "Two Bit City" - Truck Stop Thrills [0:04:39] Andy Starr - "Give Me A Woman" [0:07:35] J. Gale and The Games - "A Million Nothings" [0:09:59] Stormy and His Stallions - "Mind Your Business" [0:12:48] Johnny and Jonie - "Tijuana Jail" [0:15:41] Charley Crockett - "Black Sedan" - The Man From Waco [appearing with Orville Peck at The Theater at MSG 7/20 and Stone Pony Summerstage 7/29!] [0:21:22] Tex Craddock - "Carolina Beach" [0:25:00] P. Jay and The Haystackers - "Little Heart Attacks" [0:28:10] Orville Peck - "Lafayette" - Bronco [appearing with Charley Crockett at The Theater at MSG 7/20 and Stone Pony Summerstage 7/29!] [0:30:22] The Rolling Stones - "Sweet Black Angel" [0:33:14] Jimmy Hydrick - "Bartender Bring On The Booze" [0:38:01] Charlie Walker - "Out Of A Honky Tonk" - Charlie Walker's Greatest Hits [0:40:24] Red Foley - "Pin Ball Boogie" [0:42:56] Arbis Hanyel - "Roadhouse Rock" [0:45:23] Son Volt - "What About Tomorrow" - Day Of The Doug: The Songs Of Doug Sahm [0:49:15] Jimmie Dale Gilmore - "That Hardwood Floor" - Jimmie Dale Gilmore [0:51:36] Kitty Wells - "Hey Joe" - The Golden Years [0:54:30] Lloyd Copas - "Circle Rock" [0:57:00] https://www.wfmu.org/playlists/shows/127966

Otis Williams and The Midnight Cowboys - "I Wanna Go Country" - Otis Williams and The Midnight Cowboys Gosdin Brothers - "Louisiana Man" [0:01:54] Old Lady - "Two Bit City" - Truck Stop Thrills [0:04:39] Andy Starr - "Give Me A Woman" [0:07:35] J. Gale and The Games - "A Million Nothings" [0:09:59] Stormy and His Stallions - "Mind Your Business" [0:12:48] Johnny and Jonie - "Tijuana Jail" [0:15:41] Charley Crockett - "Black Sedan" - The Man From Waco [appearing with Orville Peck at The Theater at MSG 7/20 and Stone Pony Summerstage 7/29!] [0:21:22] Tex Craddock - "Carolina Beach" [0:25:00] P. Jay and The Haystackers - "Little Heart Attacks" [0:28:10] Orville Peck - "Lafayette" - Bronco [appearing with Charley Crockett at The Theater at MSG 7/20 and Stone Pony Summerstage 7/29!] [0:30:22] The Rolling Stones - "Sweet Black Angel" [0:33:14] Jimmy Hydrick - "Bartender Bring On The Booze" [0:38:01] Charlie Walker - "Out Of A Honky Tonk" - Charlie Walker's Greatest Hits [0:40:24] Red Foley - "Pin Ball Boogie" [0:42:56] Arbis Hanyel - "Roadhouse Rock" [0:45:23] Son Volt - "What About Tomorrow" - Day Of The Doug: The Songs Of Doug Sahm [0:49:15] Jimmie Dale Gilmore - "That Hardwood Floor" - Jimmie Dale Gilmore [0:51:36] Kitty Wells - "Hey Joe" - The Golden Years [0:54:30] Lloyd Copas - "Circle Rock" [0:57:00] https://www.wfmu.org/playlists/shows/127966

Michael Andreaus plays Otis Williams in the National Tour of "Ain't Too Proud: The Life and Times of The Temptations." Ellen and Benita chat with him about the show, the real lives of the men behind the Temptations, auditioning, and performing on the road.

Suzanne sits down with Broadway actor, Michael Andreaus, who explores his connection to the word, “Legacy”. We are thrilled that Michael agreed to chat with us during Black History Month and share his experiences as a black man in this current political climate. “Legacy” is a powerful and explorative episode that everyone should listen to. We hope you are moved and inspired by Michael's journey.About Michael Andreaus:Michael Andreaus is an actor, born in Atlanta, GA. He grew up in Atlanta and Oklahoma City, and he graduated from the University of Central Oklahoma. Upon moving to New York, he was cast in the Netflix limited series "When They See Us" and Off-Broadway, before being cast in "A Soldier's Play" on Broadway. He is currently playing Otis Williams in the First National Tour of "Ain't Too Proud: The Life and Times of The Temptations". Connect with Michael AndreausFacebookInstagramAbout the Show:There's a Word For That! is a weekly podcast that centers around a different word or expression each episode. Host Suzanne Dressler believes in pushing the envelope to explore why and how we use words and the ways this impacts our lives. With a diverse assortment of intelligent, creative, and exciting guests, TAWFT! will force you to analyze and consider words in an entirely original and eye-opening way. Even better? NOTHING is off-limits.Where to Find Me:InstagramTwitterFacebook

oday #TheDayWithTrae features actor Michael Andreaus, who is currently starring as Otis Williams in Ain't Too Proud: The Life and Times of The Temptations at The Paramount. Trae Holiday will also be joined by Sally Wusstig-Trice, Owner and CEO of Beyond The Curls.

One trophy away from EGOT-status, there's strong speculation that Hugh Jackman could win the outstanding Oscar for his latest movie, The Son. He talks about his long career on stage and screen. Ann-Marie MacDonald reflects on the curiosity and empathy that continue to inspire her work from the page to the stage as Fall on Your Knees becomes a stage play. Otis Williams, founding member of Motown legends The Temptations, talks about the group's legacy, longevity and why their sound was so impactful during the 60s.

One trophy away from EGOT-status, there's strong speculation that Hugh Jackman could win the outstanding Oscar for his latest movie, The Son. He talks about his long career on stage and screen. Ann-Marie MacDonald reflects on the curiosity and empathy that continue to inspire her work from the page to the stage as Fall on Your Knees becomes a stage play. Otis Williams, founding member of Motown legends The Temptations, talks about the group's legacy, longevity and why their sound was so impactful during the 60s.

In this episode, we'll be exploring the history of the broadway musical, "Ain't Too Proud: The Life and Times of The Temptations"! Also in this episode, I'll be chatting with Derrick Baskin, who originated the role of Otis Williams! Ain't Too Proud coming to a city near you: https://ainttooproudmusical.com/#tickets

Trace Austin is a talented entertainer, musician, actor, singer, rapper, and influencer. His most recent album is The Offspring, and he is the founder of the non-profit anti-bullying organization "Together All Protected." He is the grandson of Otis Williams, the founder of The Temptations. 

Elan Carter is an actress, author, international model, and former Soul Train dancer. She has appeared on Seinfeld and Fresh Prince of Bel Air, to name a few. She was recently profiled on Youtube for the Soul Train Awards and has performed with Duran, Duran, the Jacksons, and Bobby Brown. She has traveled the world as an international model and is a writer. Her father is also Otis Williams, one of the founders of The Temptations(i.e., My Girl, Just My Imagination). She is working on a book, entertainment projects, and soon-to-be-released NFTs. Fantastic insight and advice about life and the entertainment industry.

Marcus Paul James - He has been seen in “MOTOWN: The Musical,” “In The Heights,” and “RENT.” Starting next Tuesday, December 13, anyone in LA will be able to catch the smash-hit Broadway musical “Ain't Too Proud – The Life and Times of The Temptations.” He joins Tavis for a conversation about the story of this legendary group and shares his thoughts on preparing for the role of Otis Williams

The British raid of 1897 on Benin City in the Southern Nigerian State of Edo, saw thousands of looted items end up in galleries and Museums across the UK. One recipient was the Horniman Museum and Gardens in South-East London. Only this week, they returned six out of seventy-two items, to Nigeria's National Commission for Museums and Monuments. The remainder will remain on loan for now. Among those items returned are two Benin Bronze Plaques from the Royal Palace of Benin. The BBC's Peter Macjob tells William Crawley about the spiritual significance of these Plaques for the community of Benin. This week's Census results drew out some surprising revelations including a ten-fold rise in those identifying themselves as Shaman. But one particular statistic which grabbed a lot of media attention was that for the first time, fewer than half of people in England and Wales described themselves as Christian. William asks what determines whether Britain is or is not a Christian country with guests Dr Scot Peterson, Lecturer in Politics at the University of Oxford, and Rt Revd Dr. Helen-Ann Hartly, Bishop of Ripon. All through Advent we are teaming up with BBC Radio 3 Saturday Breakfast to bring you some of the nation's favourite Christmas Carol's. This week Presenter Elizabeth Alker meets with one of the original members of The Temptations, Otis Williams, to discuss ‘Silent Night'. And we want to hear from you, what's your favourite Carol and why is it so important to you. Email us at Sunday@bbc.co.uk Photo: Benin Bronze plaque of Oba Orhogbua (circa 1550-1578) holding a staff representing authority and power and with Iwu, royal tattoos. Photo Credit: Horniman Museum and Gardens Producers: Jill Collins and Helen Lee Editor: Tim Pemberton

Hey, fellow lushes! Up and coming musician Trace Austin joined us on this episode. Trace's grandfather, Otis Williams, is the founder of Motown legend, The Temptations, and with Trace the apple didn't fall far from the tree. He is a natural on stage and in front of a camera. His latest single, I Need To See You, is available now. He also released his LP, The Offspring, in 2022. Trace Austin is a name you are going to be hearing a lot more of. Check out this episode and you'll understand why. Hope you enjoy! Check out Trace - Instagram: https://www.instagram.com/thetraceaustin/ Linktree: https://linktr.ee/traceaustinmusic I Need To See You on You on YouTube: https://music.youtube.com/watch?v=lAk27wc8klQ Check us out - YouTube: https://www.youtube.com/channel/UCbo2frUM03BMQ5zf6qbQvww Instagram: https://www.instagram.com/dimplesandthebeard/ Facebook: https://www.facebook.com/CocktailswithDimplesandTheBeard Twitter: https://twitter.com/dimplesthebeard Tiktok: https://www.tiktok.com/@cocktailsdimplesthebeard Thanks for watching! Please subscribe to our channel. --- Send in a voice message: https://anchor.fm/dean-bann0/message

Otis Williams of the Temptations and Narada talk about Otis's musically History, the Temptations and more on pt 1 of their interview.Check out the song "When We Were Kings", Narada produced this track in dedication to The Temptations of the 1960's: https://youtu.be/GWbycu9hjIw

Otis Williams of the Temptations and Narada talk about Otis's musically History, the Temptations and more on pt 1 of their interview.Check out the song "When We Were Kings", Narada produced this track in dedication to The Temptations of the 1960's

It was around this time in 1961 that a group of five young men formed a singing group called The Elgins. They were good, so good that Berry Gordy signed them to a contract at Motown. Trouble was, there was already a group called The Elgins, so Gordy asked them to find a new name. That's when they became The Temptations. Their leader and founder was baritone Otis Williams. And over the next five decades, the temptations establish themselves as one of the most popular and most enduring soul music acts. In 1988, Williams wrote a book that was part memoir, part story of The Temptations. And that's when I had the chance to meet him .

Hey, fellow lushes! We can't stay away from the Playmates for too long! Miss June 1994 Elan Carter Price joins us on this episode. We talk about her Playboy experience, her life as the step-daughter of Otis Williams from The Temptations, her son Trace and his budding music career, her upcoming NFT project and more. She also delivers one of the funniest lines ever on this podcast when she tells us what Otis thought of her singing. Hope you enjoy. I know we did! Check out Elan - Instagram: https://www.instagram.com/elancarterp/ Facebook: https://www.facebook.com/elan.carterprice Check out Elan's son, Rapper/Songwriter Trace Austin - Instagram: https://www.instagram.com/thetraceaustin/ His website: https://traceaustinmusic.com/ His new album: https://music.apple.com/us/album/the-offspring/1608285397 Check us out - YouTube: https://www.youtube.com/channel/UCbo2frUM03BMQ5zf6qbQvww Instagram: https://www.instagram.com/dimplesandthebeard/ Facebook: https://www.facebook.com/CocktailswithDimplesandTheBeard Twitter: https://twitter.com/dimplesthebeard Tiktok: https://www.tiktok.com/@cocktailsdimplesthebeard Thanks for watching! Please subscribe to our channel. --- Send in a voice message: https://anchor.fm/dean-bann0/message

DC is joined by Otis Williams from The Temptations to talk about their new album "Temptations 60," talks working with Smokey Robinson again, reflects on the old Motown days and much more.  See omnystudio.com/listener for privacy information.

808s and Mixtapes with DJ Z13 Exclusive Interview with The Temptations ft. Otis Williams & Mort Hosted By: DJ Z13 aka Zachary Sinutko, Daunte Horton, and Collin Kennedy 808s and Mixtapes exclusive content is aviable on www.808Mixtape.com 808s and Mixtapes airs live on the WJCU app and website on Tuesday nights from 10PM-Midnight DJ Z13 alongside Collin Kennedy, Emily Davala, Daunte Horton, and Swayyyfather run the weekly show. 808s and Mixtapes is a weekly running FM radio show currently on WJCU 88.7 FM in Cleveland Ohio hosted by DJ Z13. Submit your music at the "Contact" page on our website www.808Mixtape.com to be featured live on the show and for interview requests. --- Support this podcast: https://anchor.fm/808mixtape/support

DC is joined by Otis Williams from The Temptations to talk about their new album "Temptations 60," talks working with Smokey Robinson again, reflects on the old Motown days and much more. 

The band joins us from their Los Angeles studio The Grammy Award-winning Temptations are celebrating their 60th anniversary with a yearlong celebration that includes the release of their long-awaited Temptations 60 album. The new 12 song project consists of nearly all-original songs that are both modern and classic in feel and sound. In addition to tracks produced by group members, the album brings the iconic group together again with some of its beloved producers, including the legendary and award-winning Smokey Robinson and Narada Michael Walden. This summer, the legendary "My Girl" singers will hit the road for a 60th anniversary tour that will see them hit the United States and abroad before year's end. Tour dates are forthcoming, but they assure us families of all ages will be able to see them "movin' and groovin'" to their classic R&B sound. During the 20 minute video discussion from their Los Angeles rehearsal studio, the band talks to us about their new album, forthcoming tour, legacy, and the success of their Broadway musical, Ain't Too Proud: The Life and Times of the Temptations, based on Otis Williams's personal journey. The show recently wrapped its Broadway run after having been nominated for 12 Tony Awards, including Best Musical, and winning the Tony Award for Best Choreography at the 73rd Tony Awards ceremony in June 2019. The show is currently on tour throughout the United States with dates lined up through the end of 2022. Be sure to subscribe to The Music Universe Podcast wherever you get your podcasts. https://youtu.be/nz-m_fz16DE

'Our doors are open.' Oxford area churches share comfort, hope, truth following shooting; Fast-growing Michigan marijuana company Common Citizen aims to be the Kirkland of weed; As Temptations announce 60th-anniversary album, Otis Williams is energized, nostalgic; Detroit Lions grades: Jared Goff playing B-level football, which is an improvement

You never know where you'll find a true theme park enthusiast in the wild.  While many people claim to be a "theme park nerd," rarely are they able to back up that claim with actual in-depth knowledge. Not the case with Broadway Actor Nik Walker (Hamilton, Ain't Too Proud). He. Knows. His. Stuff.Nik, who had it written into his contract for Ain't Too Proud that he would miss rehearsal for the opening of Rise of the Resistance, joins Andrew and Shane this week to talk all things theme park, and being a theme park nerd. There's great discussions on Marvel, Jurassic Park, Star Wars, Disneyland Food, Canobie Lake Park, Touring Production travel and even a great Captain E.O. impression. Don't say we didn't warn you!   Nik is currently starting on Broadway as Otis Williams in Ain't Too Proud: The Life & Times of The Temptations. You can follow him on Twitter and Instagram at @NikkywalksNik also hosts the Little Justice: Movies & Mayhem podcast on the Broadway Podcast Network. You can connect with the show by emailing us at podcast@coaster101.com or hitting us up on social media @Coaster101: Facebook  |  Twitter  |  Instagram. We also have a website, if you're into that sort of thing: www.coaster101.comWe're selling 2022 Calendars to benefit Give Kids The World! Head to https://www.coaster101.com/product/roller-coasters-2022-calendar/ to learn more! Also, be sure to subscribe to the podcast so you don't miss an episode! And please give us a rating and review wherever you listen, it helps new listeners find us!Thanks to JM Music Design for providing our theme song. For more on them, check out jmmusicdesign.com.

The group is celebrating its 60th anniversary The Temptations founding and sole surviving member, Otis Williams, is celebrating his 80th birthday this week and 60th anniversary of the legendary R&B group that's inspired generations of musicians. On November 1st, City College Center for the Arts will host a virtual event that will feature a conversation with Williams with several special celebrity guests. The “Evolution of The Temptations' Music, 1961-2021” will be simulcast from the Aaron Davis Hall's renowned Marian Anderson Theatre, named after the distinguished African American singer who broke racial barriers and inspired new generations of singers of all colors. Distinguished musician, composer and entertainment entrepreneur K. Sparks will conduct the online event, which begins at 7:30 pm EDT and will feature other special guests. Williams joins us to discuss the event as well as his legendary career including new Temptations music, Ain't Too Proud musical and more. Be sure to subscribe to The Music Universe Podcast wherever you get your podcasts.

Musician Otis Williams joins us on the podcast today! Otis Williams is a professional drummer born and raised in the city of Toronto, Canada. He started playing at the tender age of 2 and began playing every Sunday at his local church at 9. Along his musical journey as a teenager, he was given opportunities to play drums on various local gospel recordings. He became one of Toronto's premier gospel session drummers working with local recording artists such as Brian Hamilton & Divine Worship, Sharon Riley & Faith Chorale, Londa Larmond, Toronto Mass Choir, Dave Brown, Eddie Bullen, Divine Brown, Kardinal Offishall, and more. Otis was also afforded the opportunity to perform with International gospel artists such as Donnie McClurkin, Martha Munizzi, Kim Burrell, Tasha Cobbs, Travis Greene, Israel Houghton, and Elevation Worship. He has also toured with Canadian pop artist Francesco Yates as musical director and drummer for Justin Timberlake's "Man of the Woods" tour. The guys connect with Otis over the internet and chat about his unique entry into music and how he could carve out a career that led him to Elevation. Great conversation with a fantastic gentleman. Enjoy responsibly :) Thank you so much for being so supportive!  https://bit.ly/3uPCWaj (YouTube Subscribe) https://apple.co/3oiPy7m (Audio Subscribe) http://www.thednaproject.ca/shop (New Merch Out Now!) [Don't forget to check out The DNA Project Merch code "PODCAST" for 20 % off your first purchase!!] Thank you to our Sponsors: https://thednaproject.ca/ (The DNA Project)  https://www.the-mpl.com/ (The MPL Toronto) Want More Otis? https://www.instagram.com/ojwill/ (Instagram) Opening Credits: Daniel Cowans, Musical Director @ The DNA Project Produced By: Anthony Lewis and Diriki Palmer Mixed and Edited By: Mat Keselman

Episode one hundred and thirty-three of A History of Rock Music in Five Hundred Songs looks at "My Girl" by the Temptations, and is part three of a three-episode look at Motown in 1965. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Yeh Yeh" by Georgie Fame and the Blue Flames. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, I've put together a Mixcloud playlist of all the recordings excerpted in this episode. This box set is the definitive collection of the Temptations' work, but is a bit pricey. For those on a budget, this two-CD set contains all the hits. As well as the general Motown information listed below, I've also referred to Ain't Too Proud to Beg: The Troubled Lives and Enduring Soul of the Temptations by Mark Ribowsky, and to Smokey Robinson's autobiography. For Motown-related information in this and other Motown episodes, I've used the following resources: Where Did Our Love Go? The Rise and Fall of the Motown Sound by Nelson George is an excellent popular history of the various companies that became Motown. To Be Loved by Berry Gordy is Gordy's own, understandably one-sided, but relatively well-written, autobiography. Women of Motown: An Oral History by Susan Whitall is a collection of interviews with women involved in Motown. I Hear a Symphony: Motown and Crossover R&B by J. Andrew Flory is an academic look at Motown. The Motown Encyclopaedia by Graham Betts is an exhaustive look at the people and records involved in Motown's thirty-year history. How Sweet It Is by Lamont Dozier and Scott B. Bomar is Dozier's autobiography, while Come and Get These Memories by Brian and Eddie Holland and Dave Thompson is the Holland brothers'. And Motown Junkies is an infrequently-updated blog looking at (so far) the first 694 tracks released on Motown singles. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript For the last few weeks we've been looking at Motown in 1965, but now we're moving away from Holland, Dozier, and Holland, we're also going to move back in time a little, and look at a record that was released in December 1964. I normally try to keep this series in more or less chronological order, but to tell this story I had to first show the new status quo of the American music industry after the British Invasion, and some of what had to be covered there was covered in songs from early 1965. And the reason I wanted to show that status quo before doing this series of Motown records is that we're now entering into a new era of musical segregation, and really into the second phase of this story. In 1963, Billboard had actually stopped having an R&B chart -- Cashbox magazine still had one, but Billboard had got rid of theirs. The reasoning was simple -- by that point there was so much overlap between the R&B charts and the pop charts that it didn't seem necessary to have both. The stuff that was charting on the R&B charts was also charting pop -- people like Ray Charles or Chubby Checker or the Ronettes or Sam Cooke. The term "rock and roll" had originally been essentially a marketing campaign to get white people to listen to music made by Black people, and it had worked. There didn't seem to be a need for a separate category for music listened to by Black people, because that was now the music listened to by *everybody*. Or it had been, until the Beatles turned up. At that point, the American charts were flooded by groups with guitars, mostly British, mostly male, and mostly white. The story of rock and roll from 1954 through 1964 had been one of integration, of music made by Black people becoming the new mainstream of music in the USA. The story for the next decade or more would be one of segregation, of white people retaking the pop charts, and rebranding "rock and roll" so thoroughly that by the early 1970s nobody would think of the Supremes or the Shirelles or Sam Cooke as having been rock and roll performers at all. And so today we're going to look at the record that was number one the week that Billboard reinstated its R&B chart, and which remains one of the most beloved classics of the time period. We're going to look at the careers of two different groups at Motown, both of whom managed to continue having hits, and even become bigger, after the British Invasion, and at the songwriter and producer who was responsible for those hits -- and who was also an inspiration for the Beatles, who inadvertently caused that invasion. We're going to look at Smokey Robinson, and at "My Girl" by the Temptations: [Excerpt: The Temptations, "My Girl"] The story of the Temptations both starts and ends with Otis Williams. As I write this, Williams is the only living member of the classic Temptations lineup, and is the leader of the current group. And Williams also started the group that, after many lineup changes and mergers, became the Temptations, and was always the group's leader, even though he has never been its principal lead singer. The group that eventually became the Temptations started out when Williams formed a group with a friend, Al Bryant, in the late 1950s. They were inspired by a doo-wop group called the Turbans, who had had a hit in 1956 with a song called "When You Dance": [Excerpt: The Turbans, "When You Dance"] The Turbans, appropriately enough, used to wear turbans on their heads when they performed, and Williams and Bryant's new group wanted to use the same gimmick, so they decided to come up with a Middle-Eastern sounding group name that would justify them wearing Arabic style costumes. Unfortunately, they didn't have the greatest grasp of geography in the world, and so this turban-wearing group named themselves the Siberians. The Siberians recorded one single under that name -- a single that has been variously reported as being called "The Pecos Kid" and "Have Gun Will Travel", but which sold so poorly that now no copies are known to exist anywhere -- before being taken on by a manager called Milton Jenkins, who was as much a pimp as he was a manager, but who definitely had an eye for talent. Jenkins was the manager of two other groups -- the Primes, a trio from Alabama who he'd met in Cleveland when they'd travelled there to see if they could get discovered, and who had moved with him to Detroit, and a group he put together, called the Primettes, who later became the Supremes. The Primes consisted of three singers -- Eddie Kendricks, Paul Williams (no relation to Otis, or to the soft-pop singer and actor of the same name), and Kell Osborne, who sang lead. The Primes became known around Detroit as some of the best performers in the city -- no mean feat considering that Jackie Wilson, Aretha Franklin, the Miracles and the Four Tops, just for a start, were performing regularly on the same circuit. Jenkins had big plans for his groups, and he sent them all to dance school to learn to perform choreographed routines. But then Jenkins became ill and disappeared from the scene, and the Primes split up. Kendricks and Paul Williams went back to Alabama, while Osborne moved on to California, where he made several unsuccessful records, including "The Bells of St. Mary", produced by Lester Sill and Lee Hazelwood and arranged by Phil Spector: [Excerpt: Kell Osborne, "The Bells of St. Mary"] But while the Primes had split up, the Siberians hadn't. Instead, they decided to get new management, which came in the person of a woman named Johnnie Mae Matthews. Matthews was the lead singer of a group called the Five Dapps, who'd had a local hit with a track called "Do Whap A Do", one of the few Dapps songs she didn't sing lead on: [Excerpt: The Five Dapps, "Do Whap A Do"] After that had become successful, Matthews had started up her own label, Northern -- which was apparently named after a brand of toilet paper -- to put out records of her group, often backed by the same musicians who would later become the core of the Funk Brothers. Her group, renamed Johnnie Mae Matthews and the Dapps, put out two more singles on her label, with her singing lead: [Excerpt: Johnnie Mae Matthews and the Dapps, "Mr. Fine"] Matthews had become something of an entrepreneur, managing other local acts like Mary Wells and Popcorn Wylie, and she wanted to record the Siberians, but two of the group had dropped out after Jenkins had disappeared, and so they needed some new members. In particular they needed a bass singer -- and Otis Williams knew of a good one. Melvin Franklin had been singing with various groups around Detroit, but Williams was thinking in particular of Franklin's bass vocal on "Needed" by the Voice Masters. We've mentioned the Voice Masters before, but they were a group with a rotating membership that included David Ruffin and Lamont Dozier. Franklin hadn't been a member of the group, but he had been roped in to sing bass on "Needed", which was written and produced by Gwen Gordy and Roquel Davis, and was a clear attempt at sounding like Jackie Wilson: [Excerpt: The Voice Masters, "Needed"] Williams asked Franklin to join the group, and Franklin agreed, but felt bad about leaving his current group. However, the Siberians also needed a new lead singer, and so Franklin brought in Richard Street from his group. Matthews renamed the group the Distants and took them into the studio. They actually got there early, and got to see another group, the Falcons, record what would become a million-selling hit: [Excerpt: The Falcons, "You're So Fine"] The Falcons, whose lead vocalist Joe Stubbs was Levi Stubbs' brother, were an important group in their own right, and we'll be picking up on them next week, when we look at a single by Joe Stubbs' replacement in the group. The Distants' single wouldn't be quite as successful as the Falcons', but it featured several people who would go on to become important in Motown. As well as several of the Funk Brothers in the backing band, the record also featured additional vocals by the Andantes, and on tambourine a local pool-hall hustler the group knew named Norman Whitfield. The song itself was written by Williams, and was essentially a rewrite of "Shout!" by the Isley Brothers: [Excerpt: The Distants, "Come On"] The Distants recorded a second single for Northern, but then Williams made the mistake of asking Matthews if they might possibly receive any royalties for their records. Matthews said that the records had been made with her money, that she owned the Distants' name, and she was just going to get five new singers. Matthews did actually get several new singers to put out a single under the Distants name, with Richard Street still singing lead -- Street left the group when they split from Matthews, as did another member, leaving the group as a core of Otis Williams, Melvin Franklin, and Al Bryant. But before the split with Matthews, Berry Gordy had seen the group and suggested they come in to Motown for an audition. Otis, Melvin, and Al, now renamed the Elgins, wanted to do just that. But they needed a new lead singer. And happily, they had one. Eddie Kendricks phoned up Otis Williams and said that he and Paul Williams were back in town, and did Otis know of any gigs that were going? Otis did indeed know of such a gig, and Paul and Eddie joined the Elgins, Paul as lead singer and Eddie as falsetto singer. This new lineup of the group were auditioned by Mickey Stevenson, Motown's head of A&R, and he liked them enough that he signed them up. But he insisted that the name had to change -- there was another group already called the Elgins (though that group never had a hit, and Motown would soon sign up yet another group and change their name to the Elgins, leading to much confusion). The group decided on a new name -- The Temptations. Their first record was co-produced by Stevenson and Andre Williams. Williams, who was no relation to either Otis or Paul (and as a sidenote I do wish there weren't so many people with the surname Williams in this story, as it means I can't write it in my usual manner of referring to people by their surname) was a minor R&B star who co-wrote "Shake a Tail Feather", and who had had a solo hit with his record "Bacon Fat": [Excerpt: Andre Williams, "Bacon Fat"] Andre Williams, who at this point in time was signed to Motown though not having much success, was brought in because the perception at Motown was that the Temptations would be one of their harder-edged R&B groups, rather than going for the softer pop market, and he would be able to steer the recording in that direction. The song they chose to record was one that Otis Williams had written, though Mickey Stevenson gets a co-writing credit and may have helped polish it: [Excerpt: The Temptations, "Oh Mother of Mine"] The new group lineup became very close, and started thinking of each other like family and giving each other nicknames -- though they also definitely split into two camps. Otis Williams and Melvin Franklin were always a pair, and Eddie Kendricks and Paul Williams had come up together and thought of themselves as a team. Al Bryant, even though he had been with Otis from the beginning, was a bit of an outlier in this respect. He wasn't really part of either camp, and he was the only one who didn't get a nickname from the other band members. He was also the only one who kept his day job -- while the other four were all determined that they were going to make it as professional singers, he was hesitant and kept working at the dairy. As a result, whenever there were fights in the group -- and the fights would sometimes turn physical -- the fighting would tend to be between Eddie Kendricks and Melvin Franklin. Otis was the undisputed leader, and nobody wanted to challenge him, but from the beginning Kendricks and Paul Williams thought of Otis as a bit too much of a company man. They also thought of Melvin as Otis' sidekick and rubber stamp, so rather than challenge Otis they'd have a go at Melvin. But, for the most part, they were extremely close at this point. The Temptations' first single didn't have any great success, but Berry Gordy had faith in the group, and produced their next single himself, a song that he cowrote with Otis, Melvin, and Al, and which Brian Holland also chipped in some ideas for. That was also unsuccessful, but the next single, written by Gordy alone, was slightly more successful. For "(You're My) Dream Come True", Gordy decided to give the lead to Kendricks, the falsetto singer, and the track also featured a prominent instrumental line by Gordy's wife Raynoma -- what sounds like strings on the record is actually a primitive synthesiser called an ondioline: [Excerpt: The Temptations, "(You're My) Dream Come True"] That made number twenty-two on the R&B chart, and was the first sign of any commercial potential for the group -- and so Motown went in a totally different direction and put out a cover version, of a record by a group called the Diablos, whose lead singer was Barrett Strong's cousin Nolan. The Temptations' version of "Mind Over Matter" wasn't released as by the Temptations, but as by the Pirates: [Excerpt: The Pirates, "Mind Over Matter"] That was a flop, and at the same time as they released it, they also released another Gordy song under their own name, a song called "Paradise" which seems to have been an attempt at making a Four Seasons soundalike, which made number 122 on the pop charts and didn't even do that well on the R&B charts. Annoyingly, the Temptations had missed out on a much bigger hit. Gordy had written "Do You Love Me?" for the group, but had been hit with a burst of inspiration and wanted to do the record *NOW*. He'd tried phoning the various group members, but got no answer -- they were all in the audience at a gospel music show at the time, and had no idea he was trying to get in touch with them. So he'd pulled in another group, The Contours, and their version of the song went to number three on the pop charts: [Excerpt: The Contours, "Do You Love Me?"] According to the biography of the Temptations I'm using as a major source for this episode, that was even released on the same day as both "Paradise" and "Mind Over Matter", though  other sources I've consulted have it coming out a few months earlier. Despite "Paradise"'s lack of commercial success, though, it did introduce an element that would become crucial for the group's future -- the B-side was the first song for the group written by Smokey Robinson. We've mentioned Robinson briefly in previous episodes on Motown, but he's worth looking at in a lot more detail, because he is in some ways the most important figure in Motown's history, though also someone who has revealed much less of himself than many other Motown artists. Both of these facts stem from the same thing, which is that Robinson is the ultimate Motown company man. He was a vice president of the company, and he was Berry Gordy's best friend from before the company even started. While almost every other artist, writer, or producer signed to Motown has stories to tell of perceived injustices in the way that Motown treated them, Robinson has always positioned himself on the side of the company executives rather than as one of the other artists. He was the only person outside the Gordy family who had a place at the very centre of the organisation -- and he was also one of a very small number of people during Motown's golden age who would write, produce, *and* perform. Now, there were other people who worked both as artists and on the backroom side of things -- we've seen that Marvin Gaye and Stevie Wonder would sometimes write songs for other artists, and that Eddie Holland and Lamont Dozier had started out as performers before moving into songwriting. But these were mostly little dalliances -- in general, in Motown in the sixties, you were either a performer or you were a writer-producer. But Smokey Robinson was both -- and he was *good* at both, someone who was responsible for creating many of the signature hits of Motown. At this point in his career, Robinson had, as we've heard previously, been responsible for Motown's second big hit, after "Money", when he'd written "Shop Around" for his own group The Miracles: [Excerpt: The Miracles, "Shop Around"] The Miracles had continued to have hits, though none as big as "Shop Around", with records like "What's So Good About Goodbye?": [Excerpt: The Miracles, "What's So Good About Goodbye?"] But Robinson had also been writing regularly for other artists. He'd written some stuff that the Supremes had recorded, though like all the Supremes material at this point it had been unsuccessful, and he'd also started a collaboration with the label's biggest star at this point, Mary Wells, for whom he'd written top ten hits like "The One Who Really Loves You": [Excerpt: Mary Wells, "The One Who Really Loves You"] and "You Beat Me To The Punch", co-written with fellow Miracle Ronnie White, which as well as going top ten pop made number one on the R&B charts: [Excerpt: Mary Wells, "You Beat Me to The Punch"] Between 1962 and 1964, Robinson would consistently write huge hits for Wells, as well as continuing to have hits with the Miracles, and his writing was growing in leaps and bounds. He was regarded by almost everyone at Motown as the best writer the company had, both for his unique melodic sensibility and for the literacy of his lyrics. When he'd first met Berry Gordy, he'd been a writer with a lot of potential, but he hadn't understood how to structure a lyric -- he'd thrown in a lot of unrelated ideas. Gordy had taken him under his wing and shown him how to create a song with a beginning, a middle, and an end, and Robinson had immediately understood what he needed to do. His lyrics, with their clever conceits and internal rhymes, became the ones that everyone else studied -- when Eddie Holland decided to become a songwriter rather than a singer, he'd spent months just studying Robinson's lyrics to see how they worked. Robinson was even admired by the Beatles, especially John Lennon -- one can hear his melismatic phrases all over Lennon's songwriting in this period, most notably in songs like "Ask Me Why", and the Beatles covered one of Robinson's songs on their second album, With the Beatles: [Excerpt: The Beatles, "You Really Got a Hold On Me"] After writing the B-side to "Paradise", Robinson was given control of the Temptations' next single. His "I Want a Love I Can See" didn't do any better than "Paradise", and is in some ways more interesting for the B-side, "The Further You Look, The Less You See": [Excerpt: The Temptations, "The Further You Look, The Less You See"] That track's interesting because it's a collaboration between Robinson and Norman Whitfield, that pool-hall hustler who'd played tambourine on the Distants' first single. Whitfield had produced the records by the later Distants, led by Richard Street, and had then gone to work for a small label owned by Berry Gordy's ex-mother-in-law. Gordy had bought out that label, and with it Whitfield's contract, and at this point Whitfield was very much an apprentice to Robinson. Both men were huge admirers of the Temptations, and for the next few years both would want to be the group's main producer and songwriter, competing for the right to record their next single -- though for a good chunk of time this would not really be a competition, as Whitfield was minor league compared to Robinson. "I Want a Love I Can See" was a flop, and the Temptations' next single was another Berry Gordy song. When that flopped too, Gordy seriously started considering dropping the group altogether. While this was happening, though, Robinson was busily writing more great songs for his own group and for Mary Wells, songs like "What Love Has Joined Together", co-written with his bandmate Bobby Rogers: [Excerpt: Mary Wells, "What Love Has Joined Together"] And the Temptations were going through their own changes. Al was becoming more and more of an outsider in the group, while also thinking of himself as the real star. He thought this even though he was the weak link -- Paul and Eddie were the lead singers, Otis was the band's leader, Melvin had a hugely distinctive bass voice, and Al was... just "the other one". Things came to a head at a gig in October 1963, when a friend of the group showed up. David Ruffin was so friendly with Melvin Franklin that Franklin called him his cousin, and he was also a neighbour of Otis'. He had been a performer from an early age -- he'd been in a gospel group with his older brother Jimmy and their abusive father. Once he'd escaped his father, he'd gone on to perform in a duo with his brother, and then in a series of gospel groups, including stints in the Dixie Nightingales and the Soul Stirrers. Ruffin had been taken on by a manager called Eddie Bush, who adopted him -- whether legally or just in their minds is an open question -- and had released his first single as Little David Bush when he was seventeen, in 1958: [Excerpt: Little David Bush, "You and I"] Ruffin and Bush had eventually parted ways, and Ruffin had taken up with the Gordy family, helping Berry Gordy Sr out in his construction business -- he'd actually helped build the studio that Berry Jr owned and where most of the Motown hits were recorded -- and singing on records produced by Gwen Gordy. He'd been in the Voice Masters, who we heard earlier this episode, and had also recorded solo singles with the Voice Masters backing, like "I'm In Love": [Excerpt: David Ruffin, "I'm In Love"] When Gwen Gordy's labels had been absorbed into Motown, so had Ruffin, who had also got his brother Jimmy signed to the label. They'd planned to record as the Ruffin Brothers, but then Jimmy had been drafted, and Ruffin was at a loose end -- he technically had a Motown contract, but wasn't recording anything. But then in October 1963 he turned up to a Temptations gig. For the encore, the group always did the Isley Brothers song "Shout!", and Ruffin got up on stage with them and started joining in, dancing more frantically than the rest of the group. Al started trying to match him, feeling threatened by this interloper. They got wilder and wilder, and the audience loved it so much that the group were called back for another encore, and Ruffin joined them again. They did the same song again, and got an even better reaction. They came back for a third time, and did it again, and got an even better reaction. Ruffin then disappeared into the crowd. The group decided that enough was enough -- except for Al, who was convinced that they should do a fourth encore without Ruffin. The rest of the group were tired, and didn't want to do the same song for a fourth time, and thought they should leave the audience wanting more. Al, who had been drinking, got aggressive, and smashed a bottle in Paul Williams' face, hospitalising him. Indeed, it was only pure luck that kept Williams from losing his vision, and he was left with a scar but no worse damage. Otis, Eddie, and Melvin decided that they needed to sack Al, but Paul, who was the peacemaker in the group, insisted that they shouldn't, and also refused to press charges. Out of respect for Paul, the rest of the group agreed to give Al one more chance. But Otis in particular was getting sick of Al and thought that the group should just try to get David Ruffin in. Everyone agreed that if Al did anything to give Otis the slightest reason, he could be sacked. Two months later, he did just that. The group were on stage at the annual Motown Christmas show, which was viewed by all the acts as a competition, and Paul had worked out a particularly effective dance routine for the group, to try to get the crowd going. But while they were performing, Al came over to Otis and suggested that the two of them, as the "pretty boys" should let the other three do all the hard work while they just stood back and looked good for the women. Otis ignored him and carried on with the routine they'd rehearsed, and Al was out as soon as they came offstage. And David Ruffin was in. But for now, Ruffin was just the missing element in the harmony stack, not a lead vocalist in his own right. For the next single, both Smokey Robinson and Berry Gordy came up with songs for the new lineup of the group, and they argued about which song should be the A-side -- one of the rare occasions where the two disagreed on anything. They took the two tracks to Motown's quality control meeting, and after a vote it was agreed that the single should be the song that Robinson had written for Eddie Kendricks to sing, "The Way You Do the Things You Do": [Excerpt: The Temptations, "The Way You Do the Things You Do"] At first, the group hadn't liked that song, and it wasn't until they rehearsed it a few times that they realised that Robinson was being cleverer than they'd credited him for with the lyrics. Otis Williams would later talk about how lines like "You've got a smile so bright, you know you could have been a candle" had seemed ridiculous to them at first, but then they'd realised that the lyric was parodying the kinds of things that men say when they don't know what to say to a woman, and that it's only towards the end of the song that the singer stops trying bad lines and just starts speaking honestly -- "you really swept me off my feet, you make my life complete, you make my life so bright, you make me feel all right": [Excerpt: The Temptations, "The Way You Do the Things You Do"] That track was also the first one that the group cut to a prerecorded backing track, Motown having upgraded to a four-track system. That allowed the group to be more subtle with their backing vocal arrangements, and "The Way You Do the Things You Do" is the point at which the Temptations become fully themselves. But the group didn't realise that at first. They spent the few weeks after the record's release away from Detroit, playing at the Michigan state fair, and weren't aware that it was starting to do things. It was only when Otis and David popped in to the Motown offices and people started talking to them about them having a hit that they realised the record had made the pop charts. Both men had been trying for years to get a big hit, with no success, and they started crying in each other's arms, Ruffin saying ‘Otis, this is the first time in my life I feel like I've been accepted, that I've done something.'” The record eventually made number eleven on the pop charts, and number one on the Cashbox R&B chart -- Billboard, as we discussed earlier, having discontinued theirs, but Otis Williams still thinks that given the amount of airplay that the record was getting it should have charted higher, and that something fishy was going on with the chart compilation at that point. Perhaps, but given that the record reached the peak of its chart success in April 1964, the high point of Beatlemania, when the Beatles had five records in the top ten, it's also just possible that it was a victim of bad timing. But either way, number eleven on the pop charts was a significant hit. Shortly after that, though, Smokey Robinson came up with an even bigger hit. "My Guy", written for Mary Wells, had actually only been intended as a bit of album filler. Motown were putting together a Mary Wells album, and as with most albums at the time it was just a collection of tracks that had already been released as singles and stuff that hadn't been considered good enough to release. But they were a track short, and Smokey was asked to knock together something quickly. He recorded a backing track at the end of a day cutting tracks for a *Temptations* album -- The Temptations Sing Smokey -- and everyone was tired by the time they got round to recording it, but you'd never guess that from the track itself, which is as lively as anything Motown put out. "My Guy" was a collaborative creation, with an arrangement that was worked on by the band -- it was apparently the Funk Brothers who came up with the intro, which was lifted from a 1956 record, "Canadian Sunset" by Hugo Winterhalter. Compare that: [Excerpt: Hugo Winterhalter, "Canadian Sunset"] to “My Guy”: [Excerpt: Mary Wells, "My Guy"] The record became one of the biggest hits of the sixties -- Motown's third pop number one, and a million-seller. It made Mary Wells into a superstar, and the Beatles invited her to be their support act on their UK summer tour. So of course Wells immediately decided to get a better deal at another record label, and never had another hit again. Meanwhile, Smokey kept plugging away, both at his own records -- though the Miracles went through a bit of a dry patch at this point, as far as the charts go -- and at the Temptations. The group's follow-up, "I'll Be in Trouble", was very much a remake of "The Way You Do the Things You Do", and while it was good it didn't quite make the top thirty. This meant that Norman Whitfield got another go. He teamed up with Eddie Holland to write "Girl (Why You Wanna Make Me Blue)", which did only slightly better than "I'll Be in Trouble": [Excerpt: The Temptations, "Girl (Why You Wanna Make Me Blue)"] The competition between Robinson and Whitfield for who got to make the Temptations' records was heating up -- both men were capable of giving the group hits, but neither had given them the truly massive record that they were clearly capable of having. So Smokey did the obvious thing. He wrote a sequel to his biggest song ever, and he gave it to the new guy to sing. Up until this point, David Ruffin hadn't taken a lead vocal on a Temptations record -- Paul Williams was the group's official "lead singer", while all the hits had ended up having Eddie's falsetto as the most prominent vocal. But Smokey had seen David singing "Shout" with the group, and knew that he had lead singer potential. With his fellow Miracle Ronald White, Smokey crafted a song that was the perfect vehicle for Ruffin's vocal, an answer song to "My Guy", which replaced that song's bouncy exuberance with a laid-back carefree feeling: [Excerpt: The Temptations, "My Girl"] But it's not just Ruffin's record -- everyone talking about the track talks about Ruffin's vocal, or the steady pulse of James Jamerson's bass playing, and both those things are definitely worthy of praise, as of course are Robinson's production and Robinson and White's song, but this is a *Temptations* record, and the whole group are doing far more here than the casual listener might realise. It's only when you listen to the a capella version released on the group's Emperors of Soul box set that you notice all the subtleties of the backing vocal parts. On the first verse, the group don't come in until half way through the verse, with Melvin Franklin's great doo-wop bass introducing the backing vocalists, who sing just straight chords: [Excerpt: The Temptations, "My Girl (a capella)"] It's not until the chorus that the other group members stretch out a little, taking solo lines and singing actual words rather than just oohs: [Excerpt: The Temptations, "My Girl (a capella)"] They then drop back until the same point in the next verse, but this time rather than singing just the plain chords, they're embellishing a little, playing with the rhythm slightly, and Eddie Kendricks' falsetto is moving far more freely than at the same point in the first verse. [Excerpt: The Temptations, "My Girl (a capella)"] The backing vocals slowly increase in complexity until you get the complex parts on the tag. Note that on the first chorus they sang the words "My Girl" absolutely straight with no stresses, but by the end of the song they're all emphasising every word. They've gone from Jordanaires style precise straight harmony to a strong Black gospel feel in their voices, and you've not even noticed the transition: [Excerpt: The Temptations, "My Girl (a capella)"] The track went to number one on the pop charts, knocking off "This Diamond Ring" by Gary Lewis and the Playboys, before itself being knocked off by "Eight Days a Week" by the Beatles. But it also went to number one on the newly reestablished R&B charts, and stayed there for six weeks: [Excerpt: The Temptations, "My Girl"] Smokey Robinson was now firmly established as the Temptations' producer, and David Ruffin as the group's lead singer. In 1965 Robinson and Pete Moore of the Miracles would write three more top-twenty pop hits for the group, all with Ruffin on lead -- and also manage to get a B-side sung by Paul Williams, "Don't Look Back", to the top twenty on the R&B chart. Not only that, but the Miracles were also on a roll, producing two of the biggest hits of their career. Pete Moore and Marv Tarplin had been messing around with a variant of the melody for "The Banana Boat Song", and came up with an intro for a song: [Excerpt: The Miracles, "The Tracks of My Tears"] Robinson took that as a jumping-off point and turned it into the song that would define their career: [Excerpt: The Miracles, "The Tracks of My Tears"] And later that year they came up with yet another million-seller for the Miracles with "Going to a Go-Go": [Excerpt: The Miracles, "Going to a Go-Go"] Robinson and his collaborators were being rather overshadowed in the public perception at this point by the success of Holland-Dozier-Holland with the Supremes and the Four Tops, but by any standards the records the Temptations and the Miracles were putting out were massive successes, both commercially and artistically. But there were two things that were going to upset this balance. The first was David Ruffin. When he'd joined the group, he'd been the new boy and just eager to get any kind of success at all. Now he was the lead singer, and his ego was starting to get the better of him. The other thing that was going to change things was Norman Whitfield. Whitfield hadn't given up on the Temptations just because of Smokey's string of hits with them. Whitfield knew, of course, that Smokey was the group's producer while he was having hits with them, but he also knew that sooner or later everybody slips up. He kept saying, in every meeting, that he had the perfect next hit for the Temptations, and every time he was told "No, they're Smokey's group". He knew this would be the reaction, but he also knew that if he kept doing this he would make sure that he was the next in line -- that nobody else could jump the queue and get a shot at them if Smokey failed. He badgered Gordy, and wore him down, to the point that Gordy finally agreed that if Smokey's next single for the group didn't make the top twenty on the pop charts like his last four had, Whitfield would get his turn. The next single Smokey produced for the group had Eddie Kendricks on lead, and became the group's first R&B number one since "My Girl": [Excerpt: The Temptations, "Get Ready"] But the R&B and pop charts were diverging, as we saw at the start. While that was their biggest R&B hit in a year, "Get Ready" was a comparative failure on the pop charts, only reaching number twenty-nine -- still a hit, but not the top twenty that Gordy had bet on. So Norman Whitfield got a chance. His record featured David Ruffin on lead, as all the group's previous run of hits from "My Girl" on had, and was co-written with Eddie Holland. Whitfield decided to play up the Temptations' R&B edge, rather than continue in the softer pop style that had brought them success with Robinson, and came up with something that owed as much to the music coming out of Stax and Atlantic at the time as it did to Motown's pop sensibilities: [Excerpt: The Temptations, "Ain't Too Proud to Beg"] Whitfield's instinct to lean harder into the R&B sound paid off. "Ain't Too Proud to Beg" returned the group to the pop top twenty, as well as going to number one on the R&B charts. From this point on, the Temptations were no longer Smokey's group, they were Norman Whitfield's, and he would produce all their hits for the next eight years. And the group were also now definitively David Ruffin's group -- or so it seemed. When we pick up on the story of the Temptations, we'll discover how Ruffin's plans for solo stardom worked out, and what happened to the rest of the Temptations under Whitfield's guidance.

The Temptations are one of the greatest singing groups of all-time, with 14 No. 1 R&B singles, including all-time classic hits like “My Girl," "Ain't Too Proud To Beg," “The Way You Do The Things You Do,” and “Just My Imagination (Running Away With Me)." The group is one of the most influential of Motown Records' golden era and their success has transcended to current times with non-stop touring as well as the 2018 11x Tony-nominated Broadway smash musical based on their lives, Ain't Too Proud. Their songs have been covered by a who's who of the greatest artists of all time: Al Green, The Rolling Stones, Bette Midler, Peter Tosh, and Dolly Parton, to name a few. They've not only received a star on the Hollywood Walk of Fame, but been inducted into the Grammy, Rock & Roll, and Vocal Group Halls of Fame. This episode was recorded live before an audience at Warner Music in Los Angeles in October 2019, a day before Otis Williams' birthday. 2021 marks The Temptations' 60th Anniversary. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This week's guests are Eliza Ohman and Nik Walker. Eliza is best known for her work in Hamilton, King Kong and SIX: The Musical. She was the former dance captain and universal swing in Hamilton on Broadway, original Broadway company member of King Kong, where she was part of the Chita Rivera Award winning ensemble, as well as the assistant dance captain. Most recently, Eliza became the US associate choreographer for SIX: The Musical. Eliza's Been In Fosse/Verdon, The Marvelous Mrs. Maisel, Saturday Night Live and so much more. In regard to her work teaching, “She's an enthusiastic teacher who instills confidence of self in young performers so they can achieve true excellence in their craft.”  Nik Walker is best known for his roles in Hamilton, Ain't Too Proud: The Life And Times Of The Temptations and MOTOWN: The Musical. He was Aaron Burr in The Philip Company of Hamilton, after performing in the ensemble and understudying multiple roles on Broadway. Most recently, he's been leading the company of Ain't Too Proud as Otis Williams. Nik's been On Law & Order: SVU, Peter and the Starcatcher, and has a multitude of projects he's been working on, including: THE CHAOS TWINS with Sasha Hutchings and Little Justice: The Podcast with Alex Smolowe.  Here's part two of our conversation from April 17th, recorded for my live YouTube Series: The SHO Must Go On...Line! Thanks for listening to the 17th episode of bwaySHO: The Podcast. Thanks to all the SHOtreons and special shout-out to the SHOstopper and SHOnanigans levels. Alyssa Walles, Ashley Stasak, John Benson, Shannon Wheeler, Judy Cotner, Naomi Cotner, Lisa Michelle Martin O'Neill, Eva Fink Clausen, Andrea Gilderhus, Theresa Piliero and Julie Larkin. If This Was Your Jam, You Can Become A SHOtreon! Head Over To Patreon.Com/bwaySHO. We Do Weekly Trivia And Monthly Video Chats! It's A Fun Time, Come Check It Out. Thanks As Always To Khayle Braxton Aka Gedun For These Awesome Beats, Jelani Remy For The Beautiful Intro Riff, Alex Brightman for the SHO time promo, Chelsey Hill AKA Illustrating Diva, For The Cool Cover Art, all the wonderful guests and all of you for listening! We don't know the future of live theatre, or when Broadway will be back, but we do know it's on all of us to get through this pandemic. Wear a mask, be safe and let's take care of ourselves. @ElizaOhman / @NikkyWalks / @bwaySHO / @bwaySHOpodcast / bwaySHO.com Proud member of the Broadway Podcast Network. See you at the SHO! Learn more about your ad choices. Visit megaphone.fm/adchoices

This week's guests are Eliza Ohman and Nik Walker. Eliza is best known for her work in Hamilton, King Kong and SIX: The Musical. She was the former dance captain and universal swing in Hamilton on Broadway, original Broadway company member of King Kong, where she was part of the Chita Rivera Award winning ensemble, as well as the assistant dance captain. Most recently, Eliza became the US associate choreographer for SIX: The Musical. Eliza's Been In Fosse/Verdon, The Marvelous Mrs. Maisel, Saturday Night Live and so much more. In regard to her work teaching, “She's an enthusiastic teacher who instills confidence of self in young performers so they can achieve true excellence in their craft.”  Nik Walker is best known for his roles in Hamilton, Ain't Too Proud: The Life And Times Of The Temptations and MOTOWN: The Musical. He was Aaron Burr in The Philip Company of Hamilton, after performing in the ensemble and understudying multiple roles on Broadway. Most recently, he's been leading the company of Ain't Too Proud as Otis Williams. Nik's been On Law & Order: SVU, Peter and the Starcatcher, and has a multitude of projects he's been working on, including: THE CHAOS TWINS with Sasha Hutchings and Little Justice: The Podcast with Alex Smolowe. Here's part one of our conversation from April 17th, recorded for my live YouTube Series: The SHO Must Go On...Line! Thanks for listening to the 16th episode of bwaySHO: The Podcast. There's No MCU post-credit scene in this episode, so come back next time to hear the rest of our conversation, starting with the films Eliza and Nik have been watching. Quarantine has been going on so very long that since this interview, John and I are yet again on a Marvel Marathon, but this time we're watching the Entire Marvel Cinematic Universe: films and TV SHOs. WandaVision has us wanting all the superhero content we can watch. We're Celebrating Black History Month and coming up on February 21st, #Ham4Progress presents “The Joy In Our Voices” - “An Evening of Hope, Inspiration, and Community Celebrating Black Art and Artists! Starring Members of our current Hamilton Companies and featuring some special guests. This event is streaming February 21 at 7pm EST on Facebook and Youtube.” Speaking of what to watch, of course HamilFilm is out there as part of the legacy of Broadway pro-shots. Which One Would You Love To See Next? Tweet at me: @bwaySHOPodcast. Thanks to all the SHOtreons and special shout-out to the SHOstopper and SHOnanigans levels. Alyssa Walles, Ashley Stasak, John Benson, Shannon Wheeler, Judy Cotner, Naomi Cotner, Lisa Michelle Martin O'Neill, Eva Fink Clausen, Andrea Gilderhus, Theresa Piliero and Julie Larkin. If This Was Your Jam, You Can Become A SHOtreon! Head Over To Patreon.Com/bwaySHO. We Do Weekly Trivia And Monthly Video Chats! It's A Fun Time, Come Check It Out. Thanks As Always To Khayle Braxton Aka Gedun For These Awesome Beats, Jelani Remy For The Beautiful Intro Riff, Alex Brightman for the SHO time promo, Chelsey Hill AKA Illustrating Diva, For The Cool Cover Art, all the wonderful guests and all of you for listening! We don't know the future of live theatre, or when Broadway will be back, but we do know it's on all of us to get through this pandemic. Wear a mask, be safe and let's take care of ourselves. @ElizaOhman / @NikkyWalks / @bwaySHO / @bwaySHOpodcast / bwaySHO.com Proud member of the Broadway Podcast Network. See you at the SHO! Learn more about your ad choices. Visit megaphone.fm/adchoices

2.12.21 #RolandMartinUnfiltered: Impeachment trial day 4; Ossoff presses Biden's budget pick on HBCU $$; Barr nixed Chauvin plea deal; Judge in Rittenhouse case denies motion for new arrest warrant; Eugene Goodman to receive Congressional Gold Medal; Meet the Black woman who owns COVID testing centers in Texas and Oklahoma; The legendary Otis Williams of The Temptations reflects on the life Mary Wilson; Educators discuss Biden's plan for parents who want school choice. Support #RolandMartinUnfiltered via the Cash App ☛ https://cash.app/$rmunfiltered or via PayPal ☛https://www.paypal.me/rmartinunfiltered #RolandMartinUnfiltered is a news reporting platform covered under Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Learn more about your ad-choices at https://www.iheartpodcastnetwork.com See omnystudio.com/listener for privacy information.

I'm joined by R&B singer and podcast host Kyle Maack to talk about the first time we heard the legendary, and arguably best to ever do it as vocal groups go, The Temptations. Kyle has a pretty unique story to share: he went from becoming completely captivated when he heard The Temptations for the first time at 11 years old to later being signed to original Temptations member Otis Williams' label.

On this week's episode, Rob and Jamie talk to director extraordinaire, Des McAnuff. Over nearly four decades, Des has directed such smash hits as Big River, The Who's Tommy, Jersey Boys, and this season's hit Ain't Too Proud: The Life and Times of the Temptations. We talk to Des about directing, running a regional theater, and how you don't say “no” when Otis Williams asks you to direct a show about his life. Later, Rob gives a closer look into the legendary La Jolla Playhouse. This week's music: “Brotherhood of Man, “ “A Secretary Is Not A Toy” from How To Succeed In Business Without Really Trying The New Broadway Cast Recording (1995), “The Royal Nonesuch” from Big River, and “Ain't Too Proud” from Ain't Too Proud: The Life and Times of the Temptations. Learn more about your ad choices. Visit megaphone.fm/adchoices