Feeds:
Posts
Comments

Posts Tagged ‘David Ruffin’

The Temptations – “I Can’t Get Next To You,” Pop # 1, R&B # 1

By Joel Francis

Surprisingly, “I Can’t Get Next To You” was the first Temptations single to top both the pop and R&B charts since “My Girl,” five long years before. Although these Temptations featured 80 percent of that lineup – David Ruffin had been replaced by Dennis Edwards – the group had been handed off from Smokey Robinson’s smooth, straightforward approach to Norman Whitfield’s groundbreaking psychedelic arrangements.

In other words, just because they had the same name and most of the same members, the Temptations of “My Girl” were long gone by the time “I Can’t Get Next To You” reigned at No. 1.

The song opens with canned applause and a barrelhouse piano roll that sets the song in an old parlor or juke joint before the chicken-scratch and wah guitars thrust the song into the future. Just as they did on the previous year’s “Cloud Nine,” the five Tempts trade lines, adding kinetic energy to the track. The guitars, electric piano and insistent drums and percussion make the song feel like a cousin to something Sly and the Family Stone would have cooked up. When Edwards finally erupts with the line “girl, you’re blowing my mind,” the song carries the same intensity and sexuality of James Brown’s hard funkin’ “Sex Machine.”

There was very little happening on Motown like this at the time. Ironically, the next act to incorporate this much funk was a group aimed at a younger audience, the Jackson 5. They Indiana quintet re-appropriated the bridge from “I Can’t Get Next To You” for their 1970 hit “ABC.”

One year after it’s mid-1969 release, Al Green transformed the song into a smoldering cry for love. Green eliminated the kaleidoscopic vocals and swirling arrangement, building the song around his voice and a slinky guitar line. The only element these versions hold in common is the lyrics. Green rode his arrangement to No. 11 on the R&B charts.

An unexpectedly versatile song penned by Whitfield and Barrett Strong, “I Can’t Get Next To You” was transformed into a jazz number by Woody Herman, converted to reggae by the Jay Boys and given the pop treatment by the Osmonds and Edwin McCain. Most recently, it was covered by Anne Lennox on her 1995 album “Medusa.”

Read Full Post »


David Ruffin – “My Whole World Ended (The Moment You Left Me),” Pop # 9, R&B # 2

By Joel Francis

Former Temptation David Ruffin stuck pretty close to his old band’s template on his solo debut. The Harvey Fuqua/Johnny Bristol song was slated to be the Tempts’ next single, but Ruffin was able to sweet talk taking the song with him when he was fired. With backing vocals provided by the Originals, the song sounds enough like the Temptations casual listeners could be forgiven for thinking the news of Ruffin’s departure was nothing but a bad dream.

The lyrics also deal with the frequent Temptations theme of lost love. Like he did in “I Wish It Would Rain” and “Since I Lost My Baby,” Ruffin ruminates over how a promising relationship soured and what to do with the loneliness and ache.

A Top 10 pop hit that just missed the top spot on the R&B charts, “My Whole World Ended” was a promising start to Ruffin’s new career. Unfortunately, the problems that plagued him in the Temptations continued to haunt. Because he wasn’t a songwriter, Ruffin was dependent on others for material, and Ruffin’s erratic behavior and continued drug use didn’t endear him to many Hitsville songsmiths. Ruffin caused further problems when he started forcing his way onstage during Temptations concerts. Fans were ecstatic to hear the old singer deliver the hits, but the group, with new member Dennis Edwards, was less than enthused.

Despite these problems, Ruffin maintained a decent solo career. Although he never matched the success of “My Whole World Ended,” he had several minor hits peaking with another Top 10 smash on 1975’s “Walk Away From Love.”

There was a flurry of immediate covers after the release of “My Whole World” in early 1969. The Chi-Lites, Kiki Dee and the Spinners all recorded interpretations of the song within 18 months of its initial release.

Read Full Post »

rain
The Temptations – “I Wish It Would Rain,” Pop # 4, R&B # 1

By Joel Francis

“I Wish It Would Rain” had been out less than two weeks when songwriter Roger Penzaben took his life on New Year’s Eve, 1967. The heartache and melancholy Temptation David Ruffin poured into his singing was Penzaben’s story.

In the spring of 1967, Penzaben caught his wife in an affair. Unable to cope with the pain and betrayal, Penzaben dumped his feelings into the lyrics. Producer Norman Whitfield and Barrett Strong, who had previously teamed on Tempts’ classics EX.

The song opens with a few stately piano chords before Ruffin takes over. Backed only by a tambourine, it’s practically a cappella. Ruffin’s voice drips with so much sorrow that it’s hard to believe just three years prior he had “sunshine on a cloudy day.”

The understated strings and arrangement bear the hallmarks of Motown’s classic Holland-Dozier-Holland productions. It’s hard to believe that in less than a year, Whitfield and the Temps would be on the vanguard of the psychedelic soul movement.

It’s also hard to believe that “Rain” was Ruffin’s next-to-last single as a Temptation. Ruffin’s cocaine addiction and insistence that the group follow Smokey Robinson and Diana Ross’ leads and  be renamed “David Ruffin and the Temptations led to his firing in the summer of 1968. When the Temps again cracked the pop Top 10 with “Cloud Nine,” both Ruffin and Whitfield’s traditional arrangements were long gone.

Shortly before the Tempts debuted their psychedelic sound, Gladys Knight and the Pips took gave “Rain” an encore lap that reached Nos. 41 and 15 on the Pop and R&B charts, respectively. In 1973, Marvin Gaye recorded a funk version that was released as the b-side of his No. 1 hit “Let’s Get It On.” That same year, British slopsters The Faces had a U.K. hit with their interpretation. Aretha Franklin and hair metal band Little Caesar have also recorded versions of this miserable masterpiece.

Read Full Post »

Second Emotion

Smokey Robinson and the Miracles – “I Second That Emotion,” Pop # 4, R&B # 1

By Joel Francis

Smokey Robinson was Christmas shopping with fellow Motown songwriter Al Cleveland when Cleveland let slip the malapropism “I second that emotion.” Intrigued, Robinson penned a lyric about a man disinterested in flirting, fishing for long-term love. In other words, it’s the complete opposite of every Kiss song ever.

The arrangement and delivery is relaxed and easy. Never a forceful singer, Robinson lets the horns punctuate his pleas. His vocals are soft and comforting as a pillow, while Miracle Marv Tarplin’s guitar pulls the song over the unusually subdued percussion. There’s no climax or resolution to the number – the horn breakdown in the final moment is as close as we get. It’s almost like Robinson is auditioning the idea.

The song fades before we learn the woman’s reaction, but audiences were delighted, sending “I Second That Emotion” into the Top 5 and earning the Miracles their sixth million-selling single.

Less than two years later, Diana Ross and the Supremes and the Temptations teamed up for a television special and album. “Diana Ross and the Supremes Join the Temptations” featured their interpretation of “I Second that Emotion,” which was a Top 20 UK hit (the single was not released in America). The album marked the debut of new Temp Dennis Edwards, who replaced the troubled David Ruffin. Miracle guitarist Tarplin reprised his role for the all-star revision. The song has a diverse cover life, with performances issued by Jerry Garcia, ‘80s synth band Japan, and “Stand By Your Man” country singer Tammy Wynette.

Read Full Post »

422268
Smokey Robinson and the Miracles – “More Love,” Pop # 23, R&B # 5

By Joel Francis

Smokey Robinson has penned dozens of gorgeous love songs throughout his career, but few are affecting as “More Love.” The reassuring lyrics speak to the tragedies the couple suffered as a result of life on the road. Between 1957 and 1964, Claudette Robinson had eight miscarriages. This heartbreaking back story adds to the romance of the chorus:

“More love, more joy,
|Than age or time could ever destroy.
My love will be so sound,
It would take about a hundred lifetimes
To live it down, wear it down, tear it down.”

The song opens with some gospel chords on the piano before the gently insistent bassline enters. Robinson’s voice appears on a pillow of strings, as the arrangement slowly builds underneath. After Robinson delivers the chorus a second time, the performance pulls back to that great bassline before reaching a climax that sustains through the rest of the song.

Foreshadowing Motown’s cross-country relocation, the track was performed by Los Angeles session musicians before the Miracles – including Claudette – overdubbed their voices in Detroit. It’s unclear why Robinson, who also produced the cut,  bypassed the Funk Brothers, but the public didn’t seem to mind. The song was wedged near the top of both the pop and R&B charts in the spring of 1967.

Foreshadowing another Motown move, “More Love” was the second single credited to “Smokey Robinson and the Miracles.” Berry’s decision to give Robinson top billing started the avalanche that benefitted Diana Ross and Martha Reeves but doomed David Ruffin and the Temptations.

Smokey and Claudette eventually had two children, both named in tribute to Motown. Son Berry Robinson was the namesake of label founder Berry Gordy, and daughter Tamla Robinson was named after the Hitsville subsidiary.

Former New Christy Minstrels singer Kim Carnes had a No. 10 hit on the Adult Contemporary charts in 1980 with her reading of “More Love.” The song was her biggest hit until “Bette Davis Eyes” hit No. 1 the following year. “More Love” has also been covered by Paul Young, Barbara McNair and the 5th Dimension.

Read Full Post »

362411
The Temptations – “(I Know) I’m Losing You,” Pop # 8, R&B # 1

By Joel Francis

The list of Motown songs based around a guitar riff is a short one, but this masterpiece should be at the top of that one and several others. Producer Norman Whitfield wrote the song with Edward Holland of Holland-Dozier-Holland, but the Temps’ road manager Cornelius Grant supplied the signature guitar line. Grant’s contribution not only got him co-writing credit, but earned him the spot to play on the record – that’s him you hear on guitar in the song.

The Temptations’ classic line-up was in full effect for this number. David Ruffin nails the vocals. The rasp in his voice makes it sound like he’s been up all night drinking, smoking and thinking about where this relationship has gone. When the rest of the Temps chime in with “looosing you” it sounds like a desperate cry echoing out of the abyss.

The subtleties in Whitfield’s arrangement take center stage in the last minute of the song, as the playing of Eddie “Bongo” Brown and the Funk Brothers horn section take over. Check out that great trombone line and how the long low note underscores the desperate feel of the song. You can hear Ruffin’s world collapsing as the horns ramp up and dance with the voices as the song fades out. The gravity of the situation would be dire if it weren’t so easy to dance to.

Seizing on the rock elements of the song, Rare Earth cut a 10 minute cover for their 1970 “Ecology” album. Motown cut the track down to three minutes and released it as a single that summer where it peaked at No. 7 on the pop charts, one slot higher than the Temptations’ original. The greatest bar band of all time, the Faces, cut their version a year later. It was also released as a single and appeared on Rod Stewart’s blockbuster “Every Picture Tells A Story” album. In 1983, Texas pop group Uptown Girls released a dance version of the song.

Read Full Post »

tempt beauty

Temptations – “Beauty Is Only Skin Deep,” Pop #3, R&B #1

By Joel Francis

After teaming to give the Tempts a No. 1 R&B hit with “Ain’t Too Proud To Beg,” Norman Whitfield and Eddie Holland paired again to deliver “Beauty Is Only Skin Deep,” which fared even better. The song was the Temptations’ third hit of 1966 and fifth consecutive R&B No. 1, dating back to 1965’s “My Girl.”

After a sharp blast of horns and drum roll from “Pistol” Allen, the song drops to a tinkle of glockenspiel that would make Bruce Springsteen proud and slowly builds, with a crescendo at the chorus. There’s a whisper of guitar and the rumble of James Jamerson’s bass, but Paul Riser’s arrangement is essentially David Ruffin and the Tempts’ voices, horns – complete with trumpet solo! – and that magnificent snare. It was more than enough.

Contrast the prominence the other Temptations are given with their backing performance in this song to the anonymity Mary Wilson and Florence Ballard of the Supremes were often given. As part of the Holland-Dozier-Holland team, Eddie Holland certainly knew how to write and arrange interesting counter-vocals. It makes one wonder how much influence label owner Berry Gordy exerted to push Diana Ross to the front and minimize the contributions of her bandmates.

Although the title seems enlightened, few women would regard a lyric like “A pretty face you may not possess/ But what I like about it is your tenderness” as a compliment.

Whitfield actually recorded the song’s backing track two years before he added the Temptations’ vocals. In the interceding time he shopped it to several Motown artists, including David Ruffin’s brother, Jimmy, and the Miracles, who included their version on the “Away We Go-Go” album. (Never one to miss a trend, Gordy also released “The Supremes A Go-Go” album in that same summer of 1966.) The Ruffin and Miracles versions are the only substantial covers of the song on record to date.

Read Full Post »

Older Posts »