Gene Myers, Features Editor at New Jersey's Suburban Trends interviewed me for a Valentine's Day article. Click here to read the full interview.
Erik Loyd staff writer for Bakersfield's Californian interviewed me a few weeks back. I thought I'd pass it along to you. Thanks Erik for writing an insightful article. And thanks to the Bakersfield Central Valley fans for a wonderful evening.
Ain't too proud to brag
Temptations founder delves into the band's success and the power of Motown on eve of Bakersfield show.
If America ever had an effective counterpunch to the British Invasion of the 1960s, it was the Motown hit factory. While the Brits gave us the Beatles, Rolling Stones, Kinks and The Who, Detroit churned out hit after soulful hit from the likes of Smokey Robinson, The Four Tops, The Supremes and the Temptations.
The Temps was the flagship male act of Berry Gordy's powerhouse label, Motown Records. The group scored chart-topping hits, sold millions of records and became one of pop's strongest influences. The Temps' sharp, tailored suits, cool vocals and distinctive dance steps took soul revue to a new level of excellence.
The period between 1964 and 1968 is considered the group's "Classic 5" lineup: Melvin Franklin, Eddie Kendricks, Otis Williams, Paul Williams and lead vocalist David Ruffin. Hits such as "My Girl", "Ain't Too Proud to Beg", "Get Ready" and "(I Know) I'm Losing You" rocketed the Temps to the top.
Though internal disputes, substance abuse, illness and a series of deaths eventually took a toll on the undisputed kings of soul, the group continues to work under the leadership of Otis Williams, the last survivor of the original Temps.
Since 1964, the Temptations have:
* released 14 No. 1 R&B singles.
* won three Grammy Awards.
* been inducted into the Rock and Roll Hall of Fame.
Williams was kind enough to talk recently about the group's legacy and some of its Motown contemporaries.
The Bakersfield Californian: What set the Temps apart from all of the other Motown acts? What made you guys special and so big?
Otis Williams: Well, I don't want to sound egotistical or anything. I just think that, about as plain as I can put it -- five guys that were the same height, which was not by plan; the microphone, the four-headed microphone; the choreography; and David Ruffin doing his fantastic showmanship ... so we did have a distinction in comparison to other Motown acts.
TBC: What was the pressure to succeed like?
Williams: Well, we were starving for success in the sense that any artist (would) at the start of their career. You're hungry, you desire. You want and desire to become successful and make a name for yourself. Little did we know it would be a career, a long effort, but it was something that we enjoyed doing. We were trying to make our bones, our niche, in show business.
TBC: What would you say are the definitive Motown hits? If you could start a collection of just the very best of Motown?
Williams: Motown had such a vast catalog of hits. I would definitely say "What's Going On" (Marvin Gaye); "My Girl"; "Dancing in the Streets" (Martha and the Vandellas); "Ooo Baby Baby" (Smokey Robinson & The Miracles) and any of the Jackson 5 hits -- "I'll Be There."
TBC: How were Motown acts able to cross over to white audiences? That was a big key to the success right?
Williams: Oh, absolutely. When you stop and think about Motown coming along the '60s, which has been noted as the most tumultuous decade in the last hundred years, it was something, in God's infinite wisdom, that was meant to happen because for the longest time black music was not able to cross over to pop stations. But that coming along -- Motown coming along when it did, which is a very necessary point in time withall the hits and things that Motown was coming up with, all the successful artists -- it was almost like it was not to be denied, and I also have to give credit to the Beatles. I never will forget, I heard the Beatles being interviewed, and the guy asked them where did they get their inspiration from, and they said Motown, James Brown, Little Richard. That seems like, the Beatles being so huge, it's like white America said, "Oh, really?" and just started listening to what the Beatles got their inspiration from. So it was that kind of an acknowledgment.