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Speaker 1: Course Love Supreme is a production of iHeartRadio. This classic

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Speaker 1: episode was produced by the team at Pandora.

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Speaker 2: What up, y'all is Laiyah from Team Supreme. Okay, So

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Speaker 2: it's June, and you know it is Black Music Month. Now,

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Speaker 2: this month and its cause was started by my godmother,

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Speaker 2: Dianna Williams, the legendary Kenny Gamble, and the great and

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Speaker 2: right back in nineteen seventy nine after being invited to

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Speaker 2: the White House along with the Black Music Association. Now,

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Speaker 2: the Black Music Association was a group of black folks

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Speaker 2: that were the best of the best of the music industry.

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Speaker 2: I'm talking record execs, I'm talking radio people, I'm talking artists.

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Speaker 2: I'm talking to everybody from Clarence Avon and Frankie Crocker

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Speaker 2: to Percy Sutton, everybody in the middle right. So they

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Speaker 2: all get invited to this big party on the White

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Speaker 2: House lawn June seventh, nineteen seventy nine. And before the

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Speaker 2: performances started, President Carter said many things addressing and reminding

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Speaker 2: people of the importance of Black Music Month, and one

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Speaker 2: of the things he said was end quote in many ways,

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Speaker 2: the feeling of our own black citizens throughout the history

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Speaker 2: of our country has been accurately expressed in the music,

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Speaker 2: and it presents a kind of history of our nation

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Speaker 2: when you go back and see the evolution of black

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Speaker 2: music word. So, we've spoken a lot about Black Music

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Speaker 2: Month on Questlove Supreme, and this June we are running

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Speaker 2: a different episode from the QLs archives every single day

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Speaker 2: in the name, spirit and cause of Black Music Month.

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Speaker 2: Here is the one and only Otis Williams as you

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Speaker 2: have never heard him from the Temptations.

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Speaker 1: Ladies and gentlemen, welcome to a special Quest Love Supreme.

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Speaker 1: I'm your host Quest Love Jenkins, and with me today

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Speaker 1: is Boss Phil, Sugar Steve and it's li Eah Team Supreme.

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Speaker 1: Today we are celebrating a legacy. For the past six decades.

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Speaker 1: Yes was the glue that held together one of the

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Speaker 1: most tightest elegant music dynasties in the history of modern

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Speaker 1: Western music. Their brand, a sophisticated pop and soul with

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Speaker 1: such gems as my Girl, the way you Do Things

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Speaker 1: you do in at Proud to Big just the name

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Speaker 1: of a few was just as crucial to the Civil

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Speaker 1: Rights era as lived every voice to sing.

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Speaker 3: There isn't a vocal group or band act of today

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Speaker 3: or in the past, who has not been influenced by them,

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Speaker 3: from their macline vocal harmony structure, to their choreography, to

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Speaker 3: their outfits, to their songs of love that have stood

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Speaker 3: the test of.

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Speaker 1: Time, to their political anthems. Just as relevant twenty eighteen

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Speaker 1: as it was in nineteen sixty eight, music would not

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Speaker 1: be what it is today without the Temptations, and the

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Speaker 1: Temptations would not be the everlasting institution it is without

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Speaker 1: the one and only heartbeat of the Temptations. Lady and gentleman,

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Speaker 1: please welcome our guests, Sir Otus Williams to quest of.

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Speaker 4: Thank you, rattle that off real good.

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Speaker 1: You know, I'm gonna do something a little different than

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Speaker 1: I normally do on the show. Well, I want to

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Speaker 1: ask you. Normally I want to go back to the beginning,

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Speaker 1: but I want to ask you what keeps you going well?

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Speaker 4: Of couse, on the real side, it's love. What I do.

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Speaker 4: You know, when you stop and think about this world

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Speaker 4: that we live in, and now all the people that

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Speaker 4: inhabit this world, it's a small microcosm of us that

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Speaker 4: are getting that to get a chance to do what

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Speaker 4: we'd like to do for a long time, you know,

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Speaker 4: and God has blessed me to be able to ride

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Speaker 4: the hell off the horse. So I'm enjoying this yere.

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Speaker 4: You know, it's a labor of love. And when you

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Speaker 4: can bring happiness to the world over in by way

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Speaker 4: of music, you know, music have been able to do

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Speaker 4: some things that politicians haven't been able to do. So

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Speaker 4: I love what I do and I'm thankful to God

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Speaker 4: for you know, still being able to do it the

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Speaker 4: fifty eight years.

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Speaker 1: Yeah, that's impressive as as someone that's at the epicenter

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Speaker 1: of a group of people and not controlling them per se.

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Speaker 1: But I know the headaches, the daily headaches that it

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Speaker 1: takes to manage different band attitudes and whatever it be

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Speaker 1: it uh you're trying to put it. I'm just saying

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Speaker 1: that I admire you so much. And you know, I've

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Speaker 1: read I've read your book when when I was like seventeen,

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Speaker 1: your your your autobiography that came out, and like, like,

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Speaker 1: I know that being the glue of an institution is

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Speaker 1: one of the hardest things. Like where you wake up

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Speaker 1: daily or weekly trying to figure out what can I

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Speaker 1: get through this day without sure drama? And you know,

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Speaker 1: I know that you've gone through like members of the

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Speaker 1: group and yeah, arguments like yeah, all that is it?

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Speaker 1: Is it worth it that? That's really my my my question.

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Speaker 1: Is it worth it that?

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Speaker 4: Well? You know, look, I look at it. First of all,

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Speaker 4: you're dealing with people. When you understand that you're dealing

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Speaker 4: with people, then you have to really understand that a

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Speaker 4: lot of you know, things come along with that, and uh,

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Speaker 4: it's worth it, you know because when we're on stage

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Speaker 4: and we here and see people with tears in their eyes.

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Speaker 4: And I'm not talking about ladies, I'm talking about grown men,

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Speaker 4: you know. And we were on one night a few

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Speaker 4: weeks ago and my robe bandager said, Dougie, his name

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Speaker 4: is Dougie, we called him Douge. He said, oh, you

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Speaker 4: have got to see this little three year old boy

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Speaker 4: playing with his car and he said, do do do

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Speaker 4: do do do dud Uh he's three years old. So

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Speaker 4: when you see from three years old all the way

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Speaker 4: up to almost one hundred, it's worth it. You know.

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Speaker 4: You just have to put up with, uh, you know,

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Speaker 4: the shenanigans and the moods and the what have you

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Speaker 4: with people, you know, but God has helped me to

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Speaker 4: make it through. They said Barry Gordy and a lot

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Speaker 4: of the heavyweights at Motown and thereabout have said, oh,

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Speaker 4: you are the glue that holds the Temptations together. And

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Speaker 4: I figured that day, if my shoulders are big enough

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Speaker 4: and strong enough to do it, then it's well worth

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Speaker 4: the wait, because when I'm at home and I walk

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Speaker 4: around my house and look at all of all the

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Speaker 4: things that I've achieved, it's worth there. You know, it

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Speaker 4: would be like me crying with a lot of bread

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Speaker 4: on the moms. So I really can't complain.

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Speaker 1: Okay, I gotta I gotta take that into accountant. Yeah,

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Speaker 1: I really like this guy.

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Speaker 4: You would.

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Speaker 1: So in the days of the Elgins, before you became

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Speaker 1: a temptation. First of all, how did you guys? What

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Speaker 1: was the transformation from the Elgins to the Temptations.

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Speaker 4: Well, even before the Elegins, my group was called ODIs Williams.

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Speaker 4: In the distance. We were with a little small they

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Speaker 4: were called Northern Records, and the lady that ran the label,

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Speaker 4: Johnny Maye Matthews, she recalled Listen. We had a nice

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Speaker 4: little regional hit called come On, and they did very well,

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Speaker 4: so much so that she sold the masters to Warwick Records,

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Speaker 4: and so one day she came from New York back

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Speaker 4: to Detroit and she just taking out all these hundred dollars.

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Speaker 4: You don't select them, these hundred dollar bills. And that

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Speaker 4: was about this, about seventeen eighteen years old, and she said, well,

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Speaker 4: you guys, your record's gonna be here all over America.

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Speaker 4: I sold into Warwick Records and now they can hear

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Speaker 4: it all over the world. And I said, oh that's good.

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Speaker 4: Did we get some roll with this further? Cause I

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Speaker 4: wrote the first uh, the regional hit. And she looked

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Speaker 4: at me with the jaunt's eye. She said, you ain't

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Speaker 4: getting none of this money. This is my money. Now.

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Speaker 4: We were doing record hops backgun those days, and record

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Speaker 4: hops is well as you go around to the disc

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Speaker 4: jockeys record hops and so they can continue to play records.

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Speaker 4: So Smoking Smoking Miracle, Smoking Robinson and the Miracles were

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Speaker 4: very hot at the time, and mister Gordon was with them,

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Speaker 4: so we could see them from the stage. And as

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Speaker 4: they were coming in, we came and mister Gordon said,

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Speaker 4: I like your group, your record. If you should leave

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Speaker 4: where you are, come see me. And I did you know,

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Speaker 4: cause Johnny Mae had said we were gonna get any

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Speaker 4: of that money. So I called mister Gordon and he said,

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Speaker 4: come on over here, and UH see Mickey Stevens. It

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Speaker 4: was A and R man. So Johnny Mae kept the

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Speaker 4: name that uh ODIs Swilliams in the distance. So I guess,

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Speaker 4: being young and whatever, I said, well keep the name.

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Speaker 4: We young, We'll start all over again. So when we

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Speaker 4: got over to uh Motown, we stood out in front

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Speaker 4: of a building called uh the uh Legal Department of Motown,

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Speaker 4: and a guy name was Bill Mitchell. He said, so,

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Speaker 4: what are we gonna call you guys? And we stood

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Speaker 4: there and we stood there. He said, what about the temptation?

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Speaker 4: I said, I like that. And at the time, David

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Speaker 4: Ruffing wasn't in the group, but Al Bryant, Eddie Kendricks,

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Speaker 4: Paul Williams, and Melvin Franklin myself, uh we were the

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Speaker 4: no name group at the time. So I said, I

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Speaker 4: like that, and I asked Paul, I'd rather I asked

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Speaker 4: all the guys, but Paul Williams said oldis a name

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Speaker 4: is whatever we make it. So temptations. So Bill hollered

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Speaker 4: back up to legal department put on the contract to temptations.

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Speaker 4: And so in nineteen sixty one. All the way up

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Speaker 4: till now we have been known as the Temptation.

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Speaker 5: The movie totally got that wrong. They over dramatized the

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Speaker 5: whole thing.

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Speaker 2: They said, y'all was sitting outside for like eight hours

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Speaker 2: trying to figure out outside of Hitsville, and then you

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Speaker 2: come in and then mister Gordy says, well, what's your name?

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Speaker 5: Because I can't have.

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Speaker 2: Y'all be whatever y'all said y'all was, and y'all but

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Speaker 2: like we got to make it sexy.

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Speaker 5: Yeah, yeah, they're deire dramatized.

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Speaker 4: You know what I learned when I say, because I'm

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Speaker 4: being honest with you, I have yet to sit and

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Speaker 4: watch that mini series.

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Speaker 1: Seriously, right, I understand that, but I'm just worried because

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Speaker 1: now they just they show it so much.

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Speaker 4: Oh yeah, Well, what I learned a little bit that

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Speaker 4: I saw the scene where as Melvin Franklin and myself

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Speaker 4: had to go to the David Refference apartment. Now, the

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Speaker 4: guy that played me what is this named Charles Malik D. B.

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Speaker 4: Woodside who played Melvin and naturally the Leon. So I'm

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Speaker 4: standing in the shadows in the way they're getting the

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Speaker 4: lighting and everything all fixed up. So Allen Archis, the

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Speaker 4: director said, all right, action camera.

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Speaker 1: I rolled them.

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Speaker 4: The girl came up with the class well BAP and

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Speaker 4: the two brothers that played me. One of myself knocked

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Speaker 4: on the door and leone opened the door. And when

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Speaker 4: they started to deliver their lives, I said, oh no,

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Speaker 4: I can't watch this. Now. We're talking about the year

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Speaker 4: in nineteen ninety eight, but when that incident happened, it

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Speaker 4: was nineteen sixty six, so it lets you know that

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Speaker 4: there was still a lot of stuff done underneath. So

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Speaker 4: one day we're in New York where my players getting

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Speaker 4: ready to open up, I mean in DC at the

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Speaker 4: Kennedy Center, and Smoker heard that I hadn't seen the movie.

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Speaker 4: He said. He calls me, oh, oh, you mean you

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Speaker 4: haven't seen the movie. I said, now, Smoker, I don't

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Speaker 4: want to cry. You need to watch a movie. I said, well,

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Speaker 4: I'll get round to watch it. I said, well, let

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Speaker 4: me ask you something, Smoker. Have you watched it? Oh,

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Speaker 4: I'll watch it, I said, did you cry?

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Speaker 1: Yeah?

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Speaker 4: I cried, So you need to get your box of

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Speaker 4: clean axes and sit down and watch it. I have

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Speaker 4: yet to watch it. But when I saw it up

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Speaker 4: in Berkeley. I sat there and the move I mean,

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Speaker 4: the play is very touching. It's gonna be seen that

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Speaker 4: you need to take a clean EXE.

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Speaker 2: So wait, what's the difference, cause there's an actual there's

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Speaker 2: a play versus the shut Rushes, the mini series that

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Speaker 2: we saw.

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Speaker 4: Well, the play is very touching. Yeah, in the sense

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Speaker 4: of you get another kind of feeling in person. Mm

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Speaker 4: and uh so as I'm sitting there watching it, the

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Speaker 4: people that's sitting around me, they would watch the play

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Speaker 4: and they would do like to.

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Speaker 1: See 'em get a glance at you.

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Speaker 4: Yeah, they wanna see if I'm crying and true enough

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Speaker 4: tears well enough in my eyes because there's a scene

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Speaker 4: whereas uh uh the white folks are shooting at us

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Speaker 4: down south and uh oh yeah, no, we went through

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Speaker 4: all that, you know, so uh yes, it's been very real.

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Speaker 4: But you know, I I'm very glad that, you know,

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Speaker 4: I was able to put it in paper. Now from

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Speaker 4: that to it'll start next month in DC and uh

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Speaker 4: it'll be there for five weeks and then they'll go

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Speaker 4: to LA and then from LA uh to Toronto and

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Speaker 4: then hopefully Broadway. And they're just waiting for the right

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Speaker 4: theater and the name of it is Ain't Too Proud?

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Speaker 4: The Life and Times of the Temptations.

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Speaker 1: Yeah. I got to meet the people that produced that.

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Speaker 1: Hight I mean that wrote the screen.

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Speaker 4: Oh yeah, yeah yeah Detroit girl.

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Speaker 1: She's yeah, it's it's it's amazing.

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Speaker 2: And do you at least do like have anything to

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Speaker 2: do with the casting, either the mini series or the

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Speaker 2: play for the person who plays you?

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Speaker 5: Do you care?

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Speaker 4: Do you well? At first I wanted Lead to play

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Speaker 4: me because Leo and I we're pretty close. You know.

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Speaker 4: When we got to greenlight that it was going to

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Speaker 4: be done on NBC, I told us, say, a man,

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Speaker 4: they're going to do the Temps life story. I would

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Speaker 4: love for you to play me. He said, oh, oh,

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Speaker 4: this man. You know you my man, I'd be glad

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Speaker 4: to play you. So the Temps we went to Paris.

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Speaker 4: That did one night or so. By the time we

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Speaker 4: came back from Paris, my manager Shelley said, well, got

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Speaker 4: the green light, we're gonna do it, and uh, but

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Speaker 4: I got to tell you good news and bad news.

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Speaker 4: I said, Okay, what's that let's say He said, well, Lee,

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Speaker 4: it's gonna be in the miniseries. That's all good. So

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Speaker 4: what's the band news. He's gonna play David Ruffing? What David?

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Speaker 4: I meant what Leon did while we were over in Paris.

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Speaker 4: Leon went at the past that we used to wear

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Speaker 4: back then and called the content on tight all the

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Speaker 4: way down. He went and got his hair, you know,

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Speaker 4: like David used to wear in the glasses.

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Speaker 5: Wow.

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Speaker 4: Yeah. And when he walked into the casting with all

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Speaker 4: the powers to be that was sitting there Susane in

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Speaker 4: the passing them say you play David Ruffing. That's how

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Speaker 4: he got the role.

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Speaker 1: It's weird that you haven't seen it because one of

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Speaker 1: the most iconic lines from it that's become an internet

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Speaker 1: meme is you know I've been getting that class everywhere.

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Speaker 4: Yeah, but I said, yeah, but look at me now

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Speaker 4: I'm still here.

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Speaker 1: Yeah. So when you guys started at motown's explain to

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Speaker 1: our listeners the idea of the charm school, Uh oh wow?

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Speaker 1: Going through Well, first of all, just the idea of

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Speaker 1: what was the idea behind wanting to present that and

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Speaker 1: and uh sophisticated sure look to America as a po

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Speaker 1: what was it before and why was that such a

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Speaker 1: revolutionary move?

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Speaker 4: Well, I I think you know talent a lot of

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Speaker 4: times need to be cultivated. You know, you gonna have

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Speaker 4: all the talent in the world, but it's one thing

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Speaker 4: to know how to present yourself when you are, uh,

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Speaker 4: you know, really out on front Street. And I have

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Speaker 4: to give those accolades to uh. A lot of people

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Speaker 4: say Barry Gordon. No, I have to give a credit

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Speaker 4: to Harvey fu Kuah. Yeah, Harvey a few Quah was

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Speaker 4: from the Moonglows and he knew Charlie Adkins and so

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Speaker 4: in the process of Motown really becoming the iconic label

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Speaker 4: it is known for today, evidently h uh Harvey must

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Speaker 4: have met but Barry and said, you know, we need

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Speaker 4: to groom these uh talented kids, and so uh Barry

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Speaker 4: felt as though it would be a good idea, and

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Speaker 4: they opened up a uh artist development right across the

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Speaker 4: street from uh Hitsville. We had to be there when

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Speaker 4: uh it was time for us to rehearse from ten

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Speaker 4: in the morning toil five to six o'clock in the evening.

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Speaker 4: And it was headed by the late Great Charlie Atkins,

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Speaker 4: uh the late Great Maurice King who was our vocal coach,

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Speaker 4: and Charlie was our choreographer. Johnny Allen who would be

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Speaker 4: at the piano and you know, keeping us everything, uh

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Speaker 4: you know a theoretical musically uh correct and uh they

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Speaker 4: sat down and they would tell us how to really

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Speaker 4: carry ourselves. You know, it's one thing to have all

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Speaker 4: the talent in the world. But if that's one thing

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Speaker 4: I hate, and I'm always trying to be cognizant of it.

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Speaker 4: I hate for artists get on. Uh you know do

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Speaker 4: INVI well them now do dudes? And you know, don't

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Speaker 4: talk correctly. They said, you guys need to know how

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Speaker 4: to talk. You know, of course the world to be

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Speaker 4: watching you. And they told this thing like four things.

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Speaker 4: Maurice King said, don't get involved with you can never

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Speaker 4: tell nobody about how they spend their money, religion, Uh,

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Speaker 4: who they make love to? And it's the four when

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Speaker 4: night politics that I said, politics that so and We've

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Speaker 4: had that occasion to come up and I I'm so

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Speaker 4: glad that I had that kind of knowledge being taught

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Speaker 4: at Motown, you know. So. But they really, you know,

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Speaker 4: put a lot into us because they were grooming us

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Speaker 4: to go come to the Copa Cabana in the smart rooms.

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Speaker 4: So we would have to rehearse from ten in the

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Speaker 4: morning to six in the evening and it paid off

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Speaker 4: because you know, I look at a lot of the

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Speaker 4: earlier films and I can see where the proper presentation

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Speaker 4: and how to carry ourselves and how to present ourselves

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Speaker 4: in the sense of speaking interviews and what have you.

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Speaker 4: So it is one of the only company I believe

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Speaker 4: that will that they ever had, that that will never

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Speaker 4: ever be another Motown.

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Speaker 1: So would you guys, I know that, at least in

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Speaker 1: the sixties, to play the Coopa was like the dream, Yes,

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Speaker 1: but similar to how Sam Cook would do it, Like

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Speaker 1: if you were playing the Black Venue, then he did

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Speaker 1: the sure enough get down, yeah, you know, sweat off

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Speaker 1: my brow right right right, rebel rousing show. But if

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Speaker 1: at the Copa, then shooting time. So would you guys

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Speaker 1: have dual shows depending on who the audience was. No,

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Speaker 1: so even Mellow Mood Temptations would play the Apollo to

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Speaker 1: that after.

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Speaker 4: We open up at the Copa, because we hold all

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Speaker 4: the existing records at the Copa, we went to the

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Speaker 4: Apollo and we opened up with Hello, Young Lovers, I

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Speaker 4: really love yes.

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Speaker 1: And it worked it yes, yes, So it was almost

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Speaker 1: like a job. Well, I saw Michael Jackson's I D card,

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Speaker 1: So you guys would have to have these ID cards

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Speaker 1: at Motown or or at Hitsville.

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Speaker 4: Not really so they so they gave them out, but

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Speaker 4: you know, yeah, and then we they knew who we were.

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Speaker 4: You know, if we wanted to walk through whatever department does,

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Speaker 4: what's happening and temp y'all back in town? You know,

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Speaker 4: so it would was nowhere real who you Yeah? Right?

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Speaker 1: So how many hours a day would you guys? Uh

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Speaker 1: RaSE verse? And how how did Charlie find that much

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Speaker 1: time to devote to each of the acts because he

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Speaker 1: was he literally was doing everyone from the sixties and

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Speaker 1: the seventies, Yeah, and coming up with these ideas like

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Speaker 1: what was his creative process too?

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Speaker 4: You know? I tell you when I first became away

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Speaker 4: of Charlie's uh choreography, the Cadillacs and Detroit where they

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Speaker 4: came to Detroit. Man, Now you know Radio City is

365
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Speaker 4: the largest indoor theater in America. Fox did in Detroit

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Speaker 4: is the second to see five thousand people going crazy

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Speaker 4: over with five guys are going on the stage. And

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Speaker 4: I said, that's what I want to do. Now. I

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Speaker 4: was about sixteen years old. So one day I met

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Speaker 4: one of the cadillacts outside of the Fox, and I

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Speaker 4: asked him how did they do all that? Who told

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Speaker 4: him that? And he said, well, young brother, you know,

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Speaker 4: if you should ever want to do what we're doing,

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Speaker 4: look for a young man named Charlie Atkins. Nineteen sixty four,

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Speaker 4: we were at the Howard Theater were Gladys Knight and

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Speaker 4: a big act. I run out of acts and Charlie

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Speaker 4: was there and I said, oh my goodness, that's Charlie

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Speaker 4: Atkins and sat and talked with him, and he showed me.

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Speaker 4: I still remember the first move. He said, if I

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Speaker 4: had you guys, don't the way you do the things

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Speaker 4: you do, I'll show you what I would do. And

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Speaker 4: he got them, did move and opened his arms and

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Speaker 4: there I said, man, But Paul Williams was our choreographer

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Speaker 4: of the temps. But they would work it out systematically,

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Speaker 4: you know, for the hours they would have, like our

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Speaker 4: attempts you all would have from like one o'clock to four,

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Speaker 4: and then from four to five the supremes would come in,

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Speaker 4: you know. So they had it systematically worked out where

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Speaker 4: he would give all the acts that needed to come

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Speaker 4: into Motown for that sending amount of time to do it.

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Speaker 4: But we had to be there damn there every day.

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Speaker 4: I mean it was like being in school. So it

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Speaker 4: was worth Oh yeah, it worked.

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Speaker 1: So touring with the with the Hitsville Review described to

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Speaker 1: our listeners the difference between below the Mason Dixon Line

396
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Speaker 1: touring down south as opposed to doing a show of

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Speaker 1: Los Angeles or or was it the same?

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Speaker 4: Just no, no, it was different.

399
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Speaker 1: So did you dread? Did you guys dread going down south?

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Speaker 4: Not really, because we knew we had fans that wanted

401
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Speaker 4: to see us because our record was breaking out all

402
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Speaker 4: over the you know, America. But you can feel a

403
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Speaker 4: different kind of when chill factor when you got down

404
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Speaker 4: in certain parts of the South. Like I'm from Texas

405
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Speaker 4: and so we were on a Henry Wynn tour who

406
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Speaker 4: was the own of the Royal Peacock in Atlanta, Georgia,

407
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Speaker 4: so he would always have these big rock and roll shows.

408
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Speaker 4: So we got off the bus in Texas and we

409
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Speaker 4: wanted to eat, get something neat, And when we walked

410
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Speaker 4: into this restaurant, white guy said, oh, we don't serve

411
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Speaker 4: and he used the N word and we said we

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Speaker 4: don't eat him. You know, we had to find a

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Speaker 4: place that we could go and uh, you know that

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Speaker 4: would feed us. You know.

415
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Speaker 1: So did you guys use that travel guide? Yeah, with

416
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Speaker 1: green book, Yeah, the Green book, the travel guy that

417
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Speaker 1: lets black artists and black travelers down south know what

418
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Speaker 1: restaurants are, say or what.

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Speaker 4: Now, we never did. We just it was a different

420
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Speaker 4: kind of network, you know, because we would find out

421
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Speaker 4: where to go. There were people that, like say and

422
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Speaker 4: said in his book, that would house us as black artists,

423
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Speaker 4: you know, because a lot of hotels wouldn't take us,

424
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Speaker 4: you know, because we were black. So there were certain

425
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Speaker 4: homes and places down there that would, you know, let

426
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Speaker 4: us stay and feed us and what have you.

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Speaker 1: Plus you had you also had white people on the

428
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Speaker 1: bus as well. So if it was a case of

429
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Speaker 1: getting to go order of dissions without you guys having

430
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Speaker 1: to go in.

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Speaker 4: Like not on our bus. Real all blackness really yeah?

432
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Speaker 4: Wow yeah, yep, Yeah, that's what we were saying.

433
00:22:00,040 --> 00:22:01,320
Speaker 5: I needed a guide or something.

434
00:22:01,480 --> 00:22:03,760
Speaker 4: Yeah. Well we had the best guy in the world.

435
00:22:04,119 --> 00:22:05,679
Speaker 5: God amen.

436
00:22:05,880 --> 00:22:07,000
Speaker 4: He wrote us through all that.

437
00:22:07,400 --> 00:22:09,720
Speaker 1: What was the what was the city the one city

438
00:22:09,800 --> 00:22:12,960
Speaker 1: or state that you dreaded going to, at least in

439
00:22:12,960 --> 00:22:15,640
Speaker 1: that period in the in the mid sixties early sixties.

440
00:22:15,680 --> 00:22:18,960
Speaker 4: Wow, I don't get in trouble. But Mississippi was Mississippi.

441
00:22:18,960 --> 00:22:21,600
Speaker 5: God damn that was here, y'all.

442
00:22:21,600 --> 00:22:28,600
Speaker 4: I mean yeah, but uh, we were in Columbia, South Carolina,

443
00:22:29,320 --> 00:22:33,919
Speaker 4: nineteen sixty four and place was rocking. They had a

444
00:22:34,000 --> 00:22:38,479
Speaker 4: rope right down the center of the auditorium, Blacks on

445
00:22:38,480 --> 00:22:42,600
Speaker 4: one side, whites on the other. So we were singing

446
00:22:42,640 --> 00:22:44,440
Speaker 4: and saying, man, this ship ain't cool, you know, and

447
00:22:44,520 --> 00:22:50,640
Speaker 4: say Okay. We came back, same venue, same city next year.

448
00:22:50,880 --> 00:22:55,040
Speaker 4: That next year there was no rope, black and white

449
00:22:55,520 --> 00:23:01,320
Speaker 4: sitting side by side, booty banging, high fiving and having fun.

450
00:23:01,480 --> 00:23:03,760
Speaker 4: If it wasn't for the sweat that we were sweating,

451
00:23:03,800 --> 00:23:06,439
Speaker 4: you would have seen five guys on stage crying the

452
00:23:06,520 --> 00:23:07,040
Speaker 4: power of.

453
00:23:07,000 --> 00:23:09,000
Speaker 1: Music, were y'all?

454
00:23:09,040 --> 00:23:11,119
Speaker 2: Then after that moment, because they showed up in the

455
00:23:11,200 --> 00:23:13,439
Speaker 2: in the series too. But after that moment, did it change?

456
00:23:13,640 --> 00:23:14,399
Speaker 5: Uh in the.

457
00:23:14,400 --> 00:23:16,800
Speaker 2: Sense of groupies as well, because it was it now

458
00:23:16,920 --> 00:23:19,080
Speaker 2: safe to have like groupies of all colors.

459
00:23:19,400 --> 00:23:20,720
Speaker 5: Like did you see the difference in that?

460
00:23:22,200 --> 00:23:23,840
Speaker 4: Well, what the group is back there?

461
00:23:24,359 --> 00:23:25,360
Speaker 5: I mean, how did that work?

462
00:23:25,440 --> 00:23:29,440
Speaker 4: Like when the uh, you have to be very cautious,

463
00:23:29,600 --> 00:23:32,919
Speaker 4: cautious do that? You know? Uh, we always pretty much

464
00:23:32,920 --> 00:23:36,320
Speaker 4: stayed within our color line, you know, because so we

465
00:23:36,440 --> 00:23:39,680
Speaker 4: knew how if you did that, like Chuck Berry said,

466
00:23:39,720 --> 00:23:42,360
Speaker 4: he did that, he hain't got no, we wasn't getting there.

467
00:23:43,480 --> 00:23:45,920
Speaker 4: No no, no, no no no. I am not going

468
00:23:45,960 --> 00:23:48,080
Speaker 4: to the gray Ball Hotel. You know, so.

469
00:23:50,359 --> 00:23:52,000
Speaker 5: Nice Gray Bard damn.

470
00:23:53,520 --> 00:23:55,800
Speaker 4: Oh, I love it. I've been told you you should

471
00:23:55,800 --> 00:23:58,520
Speaker 4: do an older sism because that's the way my head done.

472
00:23:59,400 --> 00:24:08,160
Speaker 4: Excuse me, what the hell is a ring? Hey, Shelley,

473
00:24:08,200 --> 00:24:10,000
Speaker 4: I'll call you back. It's my manager. I'll call you back.

474
00:24:10,040 --> 00:24:14,400
Speaker 4: Jail shall we still okay? Yeah, see you later, gone.

475
00:24:14,400 --> 00:24:15,840
Speaker 5: See you later, taking.

476
00:24:17,960 --> 00:24:20,359
Speaker 1: Shall He's been the temptatious manager since the beginning correct,

477
00:24:20,440 --> 00:24:23,600
Speaker 1: nineteen sixty six. That's well, that's amazing.

478
00:24:23,840 --> 00:24:26,440
Speaker 4: Yeah, he's getting ready to be eighty years old.

479
00:24:26,600 --> 00:24:28,320
Speaker 1: And still going strong, still sharpens.

480
00:24:28,440 --> 00:24:31,280
Speaker 4: Yeah, yeah, he'll be uh at the play. He's coming

481
00:24:31,320 --> 00:24:35,359
Speaker 4: here because the stage temptations they are already rehearsing now okay,

482
00:24:35,400 --> 00:24:37,119
Speaker 4: and I just talked with a couple of them. So

483
00:24:37,160 --> 00:24:39,920
Speaker 4: he's coming in to sit and watch that and make

484
00:24:39,960 --> 00:24:41,399
Speaker 4: sure everything is going correct.

485
00:24:41,520 --> 00:24:46,320
Speaker 1: It's amazing. So when you when you guys uh got

486
00:24:46,359 --> 00:24:51,320
Speaker 1: to the late sixties and was easing into your Psychedelic phase. Sure,

487
00:24:52,480 --> 00:24:56,320
Speaker 1: I guess it starts with the Cloud nine record. Well,

488
00:24:56,359 --> 00:24:59,640
Speaker 1: first of all, the addition of is that when Dennis

489
00:24:59,640 --> 00:25:00,720
Speaker 1: made his debut with the group.

490
00:25:00,840 --> 00:25:05,600
Speaker 4: Yeah, yeah, uh, Cloud and Iron came about gambling. Huff

491
00:25:05,960 --> 00:25:08,760
Speaker 4: was a friend of mine. Him and I were talking

492
00:25:09,040 --> 00:25:12,439
Speaker 4: Warwick Hotel right up the road. So as him and

493
00:25:12,440 --> 00:25:16,240
Speaker 4: I were talking, uh, we heard this boom boom boom too,

494
00:25:17,480 --> 00:25:20,199
Speaker 4: So it stopped. We stopped and said, uh, who the

495
00:25:20,200 --> 00:25:21,919
Speaker 4: hell is that you know with that? Cause it was

496
00:25:21,960 --> 00:25:24,919
Speaker 4: so different. So we listened and the guy said I

497
00:25:24,960 --> 00:25:28,040
Speaker 4: was Sliding the Family Stone. So went back to Detroit.

498
00:25:28,080 --> 00:25:30,840
Speaker 4: Now Norman Woodfield had recorded Ain't too Proud to Bey,

499
00:25:31,280 --> 00:25:33,199
Speaker 4: Please Return your Love? I wish you would range. So

500
00:25:33,280 --> 00:25:35,760
Speaker 4: we were doing the ballots and what have you. So

501
00:25:35,880 --> 00:25:38,240
Speaker 4: when we came back to Detroit, Norman and I we

502
00:25:38,280 --> 00:25:40,560
Speaker 4: grew up together because he played tambourine on my first

503
00:25:40,640 --> 00:25:43,480
Speaker 4: hit with John Mae Matthews. So I asked you, Norman,

504
00:25:43,480 --> 00:25:45,560
Speaker 4: I said, Norman, have you heard this group called Slide

505
00:25:45,560 --> 00:25:49,520
Speaker 4: the Family Stone? And Norman was very cocky. No, man,

506
00:25:49,520 --> 00:25:53,240
Speaker 4: I ain't hurt. No damn Slide. I said, well you

507
00:25:53,240 --> 00:25:55,400
Speaker 4: should check them out, man, because they're doing something that

508
00:25:55,640 --> 00:25:58,919
Speaker 4: we should probably uh check out because we were letting

509
00:25:59,160 --> 00:26:02,920
Speaker 4: uh David go with the time so normal, no, no, none,

510
00:26:03,240 --> 00:26:05,560
Speaker 4: you know, he did all that A Wolf and the Ghetto.

511
00:26:05,640 --> 00:26:07,119
Speaker 4: So we went out of town, came back in. He

512
00:26:07,160 --> 00:26:11,280
Speaker 4: had recorded the track to Cloud nine. I said, oh, alright,

513
00:26:11,520 --> 00:26:13,840
Speaker 4: now he used it N word O man, let's go

514
00:26:13,880 --> 00:26:16,680
Speaker 4: ahead and record this year. And we went in and recorded.

515
00:26:16,880 --> 00:26:20,440
Speaker 4: Now we were spoiled because most cases when we would

516
00:26:20,640 --> 00:26:23,000
Speaker 4: record any of our records, like the Way You Do Things,

517
00:26:23,040 --> 00:26:24,680
Speaker 4: you do My Girl and what have you, or it

518
00:26:24,800 --> 00:26:26,760
Speaker 4: just run up the charts and just graw from R

519
00:26:26,800 --> 00:26:29,359
Speaker 4: and B right on to pop. So when they released

520
00:26:29,400 --> 00:26:32,919
Speaker 4: Cloud nine, uh, it was spooky, you know, because we

521
00:26:32,960 --> 00:26:35,119
Speaker 4: had gotten so used to having hits jump right on

522
00:26:35,160 --> 00:26:37,760
Speaker 4: the charts right away. So about a week and a half,

523
00:26:38,400 --> 00:26:42,200
Speaker 4: two weeks all but almost three we're gonna say, oh

524
00:26:42,280 --> 00:26:45,639
Speaker 4: my god, Yeah, I said, oh damn we did. We

525
00:26:45,680 --> 00:26:48,640
Speaker 4: didn't dropped on this one motown call. He said, well

526
00:26:48,640 --> 00:26:51,200
Speaker 4: they finally took off, you know. And I guess our

527
00:26:51,280 --> 00:26:54,679
Speaker 4: fans were saying, what the hell did the Temptations do?

528
00:26:54,800 --> 00:26:56,840
Speaker 4: This is so different cause we were just coming off

529
00:26:56,880 --> 00:26:59,879
Speaker 4: for hire to please return your love yeah, and uh

530
00:27:00,320 --> 00:27:04,760
Speaker 4: so you know, Skyrocket and we got the first Grammy

531
00:27:05,560 --> 00:27:08,240
Speaker 4: for the Tams in Motown and that was nineteen sixty eight,

532
00:27:08,480 --> 00:27:11,840
Speaker 4: and that was Dennis's first big hit with the Tams.

533
00:27:11,960 --> 00:27:16,239
Speaker 1: Time Out. Yes, Motown's first Grammy in nineteen sixty eight. Yes,

534
00:27:16,280 --> 00:27:19,840
Speaker 1: so they weren't the Grammys. Weren't that? I mean the

535
00:27:19,920 --> 00:27:20,600
Speaker 1: number one record?

536
00:27:20,720 --> 00:27:25,119
Speaker 4: Like what the fuck? That's what you gotta figure it,

537
00:27:26,280 --> 00:27:28,080
Speaker 4: That's all right, gets old.

538
00:27:28,600 --> 00:27:31,480
Speaker 1: You gotta figure out, like records like South Pacific and

539
00:27:31,720 --> 00:27:34,720
Speaker 1: the Mind of Bob Newheart was like number one, Like

540
00:27:34,840 --> 00:27:38,280
Speaker 1: those records were number one in the sixties, like the Beatles.

541
00:27:38,720 --> 00:27:41,000
Speaker 1: The Beatles don't have a Grammy. Yeah, I don't think that. Yeah,

542
00:27:41,000 --> 00:27:45,280
Speaker 1: the Beatles on Wow. So it's just like, yeah, early

543
00:27:45,320 --> 00:27:50,160
Speaker 1: seventies when like, yeah, semi inclusive, you know. Yeah, but yeah,

544
00:27:50,200 --> 00:27:55,640
Speaker 1: that's that's that is crazy to know that. But with Okay,

545
00:27:55,720 --> 00:27:58,520
Speaker 1: I'm glad you brought that up because I always wanted

546
00:27:58,560 --> 00:28:04,760
Speaker 1: to know one. Were you guys even aware or at

547
00:28:04,840 --> 00:28:06,840
Speaker 1: least Norman? I think it was more to Norman than

548
00:28:06,920 --> 00:28:09,679
Speaker 1: less to you guys. But were you guys even aware

549
00:28:10,960 --> 00:28:17,560
Speaker 1: of sly Stones kind of casual flip off on high

550
00:28:17,560 --> 00:28:20,080
Speaker 1: Fun the Summertime to you guys, oh.

551
00:28:19,920 --> 00:28:22,399
Speaker 4: Somewhat yeah, like what did you guys?

552
00:28:22,480 --> 00:28:24,720
Speaker 1: Do you guys know the story about it? Okay? So

553
00:28:25,440 --> 00:28:31,600
Speaker 1: Roses parts of Hot Fun and Summerstime was basically Sly like,

554
00:28:32,080 --> 00:28:35,639
Speaker 1: I we invented the breakdown, the boo boo breakdown and

555
00:28:35,800 --> 00:28:40,240
Speaker 1: you know, like just bucking a little shot. I never

556
00:28:40,320 --> 00:28:44,120
Speaker 1: knew that. But it was aimed at Norman. But did

557
00:28:44,120 --> 00:28:46,680
Speaker 1: he did he ever respond? Did he ever meet Sly

558
00:28:46,840 --> 00:28:47,200
Speaker 1: or do you know?

559
00:28:47,200 --> 00:28:48,720
Speaker 4: Not that I know of, I don't know if he

560
00:28:48,800 --> 00:28:53,920
Speaker 4: ever met Baker. So no, I don't. He never mentioned

561
00:28:53,960 --> 00:28:54,320
Speaker 4: it to me.

562
00:28:54,360 --> 00:28:58,080
Speaker 1: Okay, Okay, Now I've always been curious about that because

563
00:28:58,160 --> 00:29:01,520
Speaker 1: I think Sly like finally revealed it, like maybe fifteen

564
00:29:01,560 --> 00:29:11,560
Speaker 1: years ago. But as far as h Norman Whitfield's productions

565
00:29:12,040 --> 00:29:21,400
Speaker 1: and the heavy militancy, militant message of the group far

566
00:29:21,440 --> 00:29:24,640
Speaker 1: away from wanting to be at the copa And you know,

567
00:29:25,360 --> 00:29:28,320
Speaker 1: how did you guys manage to convince Barry Gordy that

568
00:29:28,320 --> 00:29:30,400
Speaker 1: that's the direction of the group. Like a song like

569
00:29:31,080 --> 00:29:34,400
Speaker 1: Run Charlie Run, which speaks of white flight in the

570
00:29:34,440 --> 00:29:40,840
Speaker 1: most explicit terms possible, like how was how did Barry.

571
00:29:40,520 --> 00:29:44,000
Speaker 4: Take that, you know what quest We were having so

572
00:29:44,080 --> 00:29:47,920
Speaker 4: many hit records with Norman that when we made the

573
00:29:47,960 --> 00:29:51,280
Speaker 4: transition from the Ballots and you know, straight up on

574
00:29:51,440 --> 00:29:55,200
Speaker 4: b on Win to Cloud nine, Norman told me one day,

575
00:29:55,200 --> 00:29:58,360
Speaker 4: he said, you know otis baringhim. Don't even bother us

576
00:29:58,400 --> 00:30:02,040
Speaker 4: anymore about quantity control. Because every Friday they would have

577
00:30:02,120 --> 00:30:04,960
Speaker 4: what they call call it the control everything that was

578
00:30:05,000 --> 00:30:07,280
Speaker 4: recorded during the week. They would sit down at the

579
00:30:07,320 --> 00:30:10,400
Speaker 4: end of the week and listen at and say, yeah, nay,

580
00:30:10,520 --> 00:30:12,040
Speaker 4: what a man, I think this needs to be a

581
00:30:12,080 --> 00:30:14,800
Speaker 4: little more heavy bassed and not too much too much

582
00:30:14,800 --> 00:30:17,120
Speaker 4: of that. You know, they do all that kind of critiquing,

583
00:30:17,600 --> 00:30:21,400
Speaker 4: and so Norman would be part of that. You know,

584
00:30:21,400 --> 00:30:23,160
Speaker 4: he would be in there because he was one of

585
00:30:23,200 --> 00:30:26,000
Speaker 4: the producers. But you know, we were having so many

586
00:30:26,080 --> 00:30:29,200
Speaker 4: hit records with the Norman and that they didn't never

587
00:30:29,240 --> 00:30:31,800
Speaker 4: bother us about whatever we would come up with. Because

588
00:30:31,840 --> 00:30:35,320
Speaker 4: when Norman came up with that song run Charlie, run, huh,

589
00:30:35,360 --> 00:30:37,400
Speaker 4: the niggas will come And I said, Norman, you got

590
00:30:37,440 --> 00:30:41,640
Speaker 4: to be kidding. Yeah, But that was Norman. He was

591
00:30:42,320 --> 00:30:45,160
Speaker 4: that kind of creative person outside of the box.

592
00:30:45,440 --> 00:30:49,600
Speaker 1: Were you guys at all confused about his like, I

593
00:30:49,720 --> 00:30:53,040
Speaker 1: know that he was trying to as a producer, present

594
00:30:53,120 --> 00:30:57,440
Speaker 1: the cinematic scope of you know, have a lot of

595
00:30:57,680 --> 00:31:01,200
Speaker 1: drama and his music, so songs like Masterpiece will let

596
00:31:01,320 --> 00:31:04,440
Speaker 1: six seven minutes go by before the vocals even start,

597
00:31:05,240 --> 00:31:08,280
Speaker 1: which which is unprecedented. I mean now it's standard standard,

598
00:31:08,360 --> 00:31:11,320
Speaker 1: but back then it was like I didn't even know

599
00:31:11,400 --> 00:31:14,400
Speaker 1: that Masterpiece had lyrics that like, I just assumed that

600
00:31:14,440 --> 00:31:15,719
Speaker 1: the whole thing was an instrumental.

601
00:31:15,920 --> 00:31:18,240
Speaker 4: I'll tell you some questions. It's very interesting that you

602
00:31:18,280 --> 00:31:22,280
Speaker 4: should bring that up, because that was the song that

603
00:31:22,440 --> 00:31:25,880
Speaker 4: made me say, oh, we gotta leave Norman. One. We

604
00:31:25,880 --> 00:31:30,920
Speaker 4: were over in our straight on that Belgium, so they

605
00:31:30,960 --> 00:31:34,000
Speaker 4: sent me a breakdown of what was happening, excuse me,

606
00:31:34,840 --> 00:31:39,600
Speaker 4: and the article said that Norman would field singers. We

607
00:31:39,760 --> 00:31:46,520
Speaker 4: all of us, Wow, wait, the Norman would feel singers.

608
00:31:46,520 --> 00:31:52,240
Speaker 4: And it was about Masterpiece. Boy. I mean, I was

609
00:31:52,280 --> 00:31:54,520
Speaker 4: so damn mad I called and said what. So when

610
00:31:54,560 --> 00:31:56,800
Speaker 4: we got back to Detroit, I told Bear, I said,

611
00:31:56,800 --> 00:31:59,920
Speaker 4: we gotta let Norman go because when you listen at

612
00:31:59,920 --> 00:32:02,440
Speaker 4: me the piece, it's just only a little small segment

613
00:32:02,520 --> 00:32:05,240
Speaker 4: of us singing and everything else was all this said,

614
00:32:05,240 --> 00:32:09,440
Speaker 4: beautifully elongated strange horns and doom doom, doom doom all

615
00:32:09,480 --> 00:32:12,800
Speaker 4: that I know. Uh, Mary said yes, yeah, you're right

616
00:32:12,840 --> 00:32:16,239
Speaker 4: because we had such a great run with Norman. But

617
00:32:16,800 --> 00:32:19,560
Speaker 4: you know when they started calling us the Norman Whitfield singers,

618
00:32:19,600 --> 00:32:21,640
Speaker 4: I said, no, no, we didn't work all these years.

619
00:32:21,640 --> 00:32:25,240
Speaker 4: It's hard to lose our identity. Yeah, just that quick.

620
00:32:25,600 --> 00:32:28,040
Speaker 4: And but that's the song that made me call and

621
00:32:28,080 --> 00:32:30,880
Speaker 4: said we gotta go and Berry uh there again was

622
00:32:30,920 --> 00:32:33,040
Speaker 4: always there for Melvin and myself. And that was the

623
00:32:33,040 --> 00:32:35,880
Speaker 4: song that was the uh changing thing from us leaving

624
00:32:35,880 --> 00:32:38,800
Speaker 4: Norman after about eight or nine years of being with

625
00:32:38,840 --> 00:32:39,960
Speaker 4: Norman what hits?

626
00:32:40,040 --> 00:32:42,520
Speaker 1: But what was his theory for making these songs thirteen

627
00:32:42,640 --> 00:32:43,600
Speaker 1: fourteen minutes.

628
00:32:43,400 --> 00:32:46,120
Speaker 4: Look well normal? Is? You know? He was very innovative.

629
00:32:46,160 --> 00:32:48,840
Speaker 4: He always wanted to be different from Smokey and uh

630
00:32:48,960 --> 00:32:53,320
Speaker 4: Holland Dosja Holland and u Astro and Simpson. So he

631
00:32:53,600 --> 00:32:56,800
Speaker 4: definitely always kind of after please Return your Love and

632
00:32:56,800 --> 00:32:59,640
Speaker 4: when we ventured over to uh Cloud nine, he always

633
00:32:59,680 --> 00:33:02,760
Speaker 4: started to think out of the box. So, like I said,

634
00:33:02,800 --> 00:33:07,320
Speaker 4: the Run Charlie Run and uh uh the Cloud Nines

635
00:33:07,440 --> 00:33:11,480
Speaker 4: and the Message from a Black Man that was just

636
00:33:11,600 --> 00:33:14,760
Speaker 4: his way of expressing, uh hisself, of wanting to be different,

637
00:33:14,800 --> 00:33:17,480
Speaker 4: and uh he just uh started thinking that way and

638
00:33:17,520 --> 00:33:19,440
Speaker 4: he we could not get him to come back to

639
00:33:19,480 --> 00:33:21,600
Speaker 4: the sweet Ballance. The only way we got him to

640
00:33:21,640 --> 00:33:25,560
Speaker 4: do just uh my uh just my imagination. Well, I said, Norman,

641
00:33:25,760 --> 00:33:28,840
Speaker 4: we out there, we hear what our found, our fans

642
00:33:28,880 --> 00:33:31,000
Speaker 4: want us to do. You got to come on and

643
00:33:31,080 --> 00:33:33,480
Speaker 4: get off of that side. Yeah, yeah, yeah, man. You

644
00:33:33,520 --> 00:33:37,800
Speaker 4: know to know Norman very cocky, very gootistical, wonderful friend

645
00:33:37,800 --> 00:33:39,240
Speaker 4: of mine. But you have to know how to deal

646
00:33:39,280 --> 00:33:42,280
Speaker 4: with Norman. So he recorded Just My Imagination and that

647
00:33:42,440 --> 00:33:45,840
Speaker 4: was the last record Eddie Kendricks did with us. And

648
00:33:45,920 --> 00:33:49,440
Speaker 4: I so uh saw us on Ed Sullivan and we

649
00:33:49,440 --> 00:33:51,720
Speaker 4: were singing just My Imagination, and I looked at it.

650
00:33:51,840 --> 00:33:54,200
Speaker 4: I said, boy, I wonder if the world can look

651
00:33:54,240 --> 00:33:57,560
Speaker 4: at uh our face and say, those guys don't look

652
00:33:57,600 --> 00:34:00,240
Speaker 4: to be too happy. Mm oh, next time you see it.

653
00:34:00,520 --> 00:34:00,640
Speaker 1: Uh.

654
00:34:00,680 --> 00:34:02,720
Speaker 4: Of course they showed it the other night and we're

655
00:34:02,760 --> 00:34:05,600
Speaker 4: sitting there singing on a little box and you know,

656
00:34:05,680 --> 00:34:09,320
Speaker 4: looking just straight ahead, no emotion in your other than sadness,

657
00:34:09,800 --> 00:34:12,520
Speaker 4: and uh but you know that's the way it goes

658
00:34:12,560 --> 00:34:16,000
Speaker 4: sometimes when you're dealing with very uh talented people. I

659
00:34:16,080 --> 00:34:16,760
Speaker 4: was asking how.

660
00:34:16,600 --> 00:34:18,880
Speaker 1: Hard was it to to lose Eddie Kendricks as a

661
00:34:18,920 --> 00:34:22,600
Speaker 1: singer because his I mean with at least with uh

662
00:34:22,880 --> 00:34:28,000
Speaker 1: uh Dennis right and in his raspy baritone fitting but

663
00:34:28,760 --> 00:34:30,440
Speaker 1: Eddie's falsetto is such a.

664
00:34:30,520 --> 00:34:33,680
Speaker 4: Smooth Oh yeah, yeah.

665
00:34:32,880 --> 00:34:33,840
Speaker 1: Was it hard to lose?

666
00:34:33,880 --> 00:34:36,200
Speaker 4: And uh yeah, it was right. It was rough to

667
00:34:36,200 --> 00:34:39,440
Speaker 4: lose uh Eddie because he was such a such a talent,

668
00:34:39,719 --> 00:34:43,480
Speaker 4: you know, far as singing, and he's been no excuse me,

669
00:34:43,800 --> 00:34:45,880
Speaker 4: not that as one of the best tennis group wise.

670
00:34:46,040 --> 00:34:49,759
Speaker 4: Uh yeah, yeah, in the business, you know. But uh,

671
00:34:50,000 --> 00:34:52,960
Speaker 4: I'm often asked about otis when you need to find somebody,

672
00:34:53,000 --> 00:34:56,160
Speaker 4: what do you look for? I look for I don't

673
00:34:56,160 --> 00:34:58,960
Speaker 4: look for talent first, so see that's the look I

674
00:34:59,000 --> 00:35:05,120
Speaker 4: always would get. You don't what I look ahead and heart.

675
00:35:05,840 --> 00:35:08,200
Speaker 4: You can have all the talent in the world. Excuse me,

676
00:35:08,239 --> 00:35:10,120
Speaker 4: if your asshole of a person you're going to negate

677
00:35:10,160 --> 00:35:12,520
Speaker 4: the talent, that's it.

678
00:35:13,080 --> 00:35:16,560
Speaker 1: I can vouch for that. Actually personally, I actually have

679
00:35:16,640 --> 00:35:17,560
Speaker 1: all the talent in the world.

680
00:35:21,600 --> 00:35:24,600
Speaker 4: It's it's unfortunately but accurate.

681
00:35:25,080 --> 00:35:32,120
Speaker 1: When you when you first of all, how how are

682
00:35:32,200 --> 00:35:36,040
Speaker 1: the the exits and enteres. I mean, I'm sure everyone

683
00:35:36,080 --> 00:35:37,880
Speaker 1: in their mind would like to think like everything was

684
00:35:37,920 --> 00:35:41,839
Speaker 1: amicable and you know, guys, I just get my one

685
00:35:41,880 --> 00:35:48,319
Speaker 1: month notice, Like how how how are they executed? And

686
00:35:48,360 --> 00:35:50,640
Speaker 1: how fast do you have to find? Like what was

687
00:35:50,680 --> 00:35:52,920
Speaker 1: the network? Like at least with the Internet, I can

688
00:35:52,960 --> 00:35:55,280
Speaker 1: go on in search and search I got a drummer instantly.

689
00:35:55,360 --> 00:35:58,520
Speaker 4: Yeah, but no, it wasn't like that well for us.

690
00:35:59,160 --> 00:36:02,439
Speaker 4: We were at the Copa and at the time Paul

691
00:36:02,440 --> 00:36:05,160
Speaker 4: Williams then they said it was meming Frank with myself

692
00:36:05,160 --> 00:36:08,360
Speaker 4: and Eddie. Eddie and myself got into an argument. So

693
00:36:08,600 --> 00:36:11,880
Speaker 4: we were doing two shows at the Copa and we

694
00:36:11,960 --> 00:36:15,680
Speaker 4: stayed right around the corner, uh the sharing Netherlands. Uh,

695
00:36:15,880 --> 00:36:18,560
Speaker 4: So I went back to the hotel until uh it

696
00:36:18,600 --> 00:36:20,439
Speaker 4: was time to come back to do the second show.

697
00:36:21,360 --> 00:36:23,880
Speaker 4: We ended up doing the show with four. Eddie just said,

698
00:36:24,120 --> 00:36:27,080
Speaker 4: kissed the monkey on the boss spot, I'm gone and

699
00:36:27,160 --> 00:36:29,200
Speaker 4: we had to do the show at the Copa with four,

700
00:36:29,920 --> 00:36:33,080
Speaker 4: so it was no fellas. Uh after the show, I'm

701
00:36:33,080 --> 00:36:36,200
Speaker 4: gonna leave, Eddie said, yeah, I had to deal with

702
00:36:36,239 --> 00:36:38,840
Speaker 4: that kind of stuff. Oh, I mean I can go

703
00:36:38,920 --> 00:36:41,319
Speaker 4: down in my home that is a friend of mine

704
00:36:41,360 --> 00:36:47,160
Speaker 4: that did a beautiful portrait of twenty two different members. Uh,

705
00:36:47,239 --> 00:36:49,960
Speaker 4: I got to ask her to do oh yeah nice

706
00:36:50,040 --> 00:36:53,640
Speaker 4: twenty four whoa yeah, And I was standing in my

707
00:36:53,680 --> 00:36:56,799
Speaker 4: living room and look from al all the way up

708
00:36:56,880 --> 00:37:00,319
Speaker 4: until till now. But I got a add Willie and

709
00:37:00,800 --> 00:37:01,760
Speaker 4: Larry they.

710
00:37:01,600 --> 00:37:04,080
Speaker 2: Would be Was there ever a moment where you were like, okay,

711
00:37:04,280 --> 00:37:06,560
Speaker 2: just I can't lose melt Like. Was there a person

712
00:37:06,600 --> 00:37:08,960
Speaker 2: like I just can't lose Melvin, I just can't lose it.

713
00:37:09,200 --> 00:37:12,319
Speaker 4: Just we Yeah, well I didn't want to lose mel.

714
00:37:12,360 --> 00:37:14,720
Speaker 5: Well, right because in my mind, I'm like, who replaces Melvion?

715
00:37:14,800 --> 00:37:15,000
Speaker 4: Yeah?

716
00:37:15,080 --> 00:37:18,440
Speaker 1: Yeah, well, well you got lucky with Ray Davis, like

717
00:37:18,560 --> 00:37:23,640
Speaker 1: if someone had to replace Melvin. Right when I found

718
00:37:23,680 --> 00:37:26,000
Speaker 1: out that Ray Davis was replacement, I was like, oh

719
00:37:26,040 --> 00:37:28,279
Speaker 1: my god, that's that's like because he always wanted to

720
00:37:28,280 --> 00:37:30,600
Speaker 1: be to you know what I mean. So the fact

721
00:37:30,640 --> 00:37:31,399
Speaker 1: that you got him.

722
00:37:32,560 --> 00:37:34,560
Speaker 4: It was a short lived thing with Ray because he

723
00:37:34,600 --> 00:37:38,200
Speaker 4: did for lovers only right, just one project, right, And

724
00:37:38,600 --> 00:37:41,400
Speaker 4: I would always send whomever would join the group to

725
00:37:41,440 --> 00:37:43,719
Speaker 4: the doctor. We said, you have to be checked out

726
00:37:43,760 --> 00:37:47,440
Speaker 4: because we have been told that we are athletes that

727
00:37:47,600 --> 00:37:49,759
Speaker 4: just sing, you know, because there are times were on

728
00:37:49,800 --> 00:37:51,239
Speaker 4: the stage. We have to be on stage for hour

729
00:37:51,280 --> 00:37:53,960
Speaker 4: and hair, you know, doing all that stuff you built

730
00:37:54,040 --> 00:37:58,920
Speaker 4: up be in good shape. So Ray went to our doctor.

731
00:37:59,760 --> 00:38:02,319
Speaker 4: So I always go and get mind your physical for

732
00:38:02,400 --> 00:38:06,200
Speaker 4: what we're doing. So doctor Heygary said, well, old said,

733
00:38:06,600 --> 00:38:08,480
Speaker 4: I got some bad news to tell you. You need

734
00:38:08,520 --> 00:38:11,600
Speaker 4: to look for another bass singer. I said, really, don

735
00:38:11,680 --> 00:38:16,000
Speaker 4: He said, he's not gonna be hit too long. Oh man,

736
00:38:16,719 --> 00:38:22,080
Speaker 4: cancer and our raid didn't smoke, it didn't smoke, and

737
00:38:22,239 --> 00:38:24,200
Speaker 4: true enough we had to let him go because of

738
00:38:24,360 --> 00:38:27,560
Speaker 4: health reasons. Wow. Yeah. But the guy that we have now,

739
00:38:27,600 --> 00:38:32,200
Speaker 4: Willy Green, and you know, people said you oldest have

740
00:38:32,320 --> 00:38:36,439
Speaker 4: found someone almost the equivalents of Melvin England. Yea, yeah,

741
00:38:36,480 --> 00:38:38,040
Speaker 4: Willie is a cold piece of work.

742
00:38:43,000 --> 00:38:45,440
Speaker 2: You mentioned. You know, this whole thing is physical. You

743
00:38:45,440 --> 00:38:47,400
Speaker 2: have to go to the doctors. How do you ODIs

744
00:38:47,560 --> 00:38:50,759
Speaker 2: preserve your knees? I mean y'all performed on hard bottom shoes, yes,

745
00:38:50,760 --> 00:38:51,360
Speaker 2: for decades.

746
00:38:51,719 --> 00:38:54,160
Speaker 4: Well this year, right, kne Now, I've had surgery on

747
00:38:54,200 --> 00:38:57,520
Speaker 4: both knees, you know, from years of dancing, you know,

748
00:38:57,600 --> 00:38:58,799
Speaker 4: and then rehearsing, you know.

749
00:38:58,800 --> 00:39:02,280
Speaker 5: Cause can you wear sneakers? Well, now still the hard Yeah.

750
00:39:02,200 --> 00:39:04,120
Speaker 4: Yeah, I can. Well pretty much. The only thing that

751
00:39:04,280 --> 00:39:07,879
Speaker 4: bother is like going up and coming downstairs. But other

752
00:39:07,880 --> 00:39:10,600
Speaker 4: than that, when it's time to hit the stage, kiss

753
00:39:10,640 --> 00:39:12,240
Speaker 4: the monkey on the balls, I'm there.

754
00:39:14,239 --> 00:39:23,200
Speaker 1: So that's the ass right Wait, speaking of stage, Yeah,

755
00:39:23,680 --> 00:39:29,560
Speaker 1: who invented the Temptations microphone stand? You know what?

756
00:39:29,800 --> 00:39:32,560
Speaker 4: I have to give credit to David Ruffin when they

757
00:39:32,600 --> 00:39:35,120
Speaker 4: were rehearsing us for the Coca Cabato and you know,

758
00:39:35,239 --> 00:39:41,000
Speaker 4: Charlie Atkins Nonfontaine. So we around rehearsing and we had

759
00:39:41,000 --> 00:39:44,279
Speaker 4: a moment just to sit and kick it. So David said, man,

760
00:39:44,360 --> 00:39:45,960
Speaker 4: you know, if we really wanted to be different, you

761
00:39:46,000 --> 00:39:48,000
Speaker 4: know what we should do. We should get a microphone

762
00:39:48,040 --> 00:39:49,960
Speaker 4: that with four heads on it and we can stand

763
00:39:50,000 --> 00:39:53,400
Speaker 4: around that. And so we just you know, kibbish and whatever.

764
00:39:53,560 --> 00:39:59,200
Speaker 4: And uh Lanefontaine, who was helping us, uh do uriciography.

765
00:39:59,840 --> 00:40:01,839
Speaker 4: Uh he said, oh, I know somebody can do that.

766
00:40:02,719 --> 00:40:05,880
Speaker 4: I said really, he said yeah. I said, well, we

767
00:40:06,000 --> 00:40:09,120
Speaker 4: drew up a thing with the pole and the fourheaded

768
00:40:09,160 --> 00:40:13,200
Speaker 4: mic nne knew somebody at the Star Trek back then,

769
00:40:13,560 --> 00:40:16,440
Speaker 4: somebody connected with Star Trek wow fixed the microphone up

770
00:40:16,440 --> 00:40:18,960
Speaker 4: for us and I gave it to the Rock and

771
00:40:19,040 --> 00:40:22,840
Speaker 4: Roll Hall of Fame nineteen ninety one. And the reason

772
00:40:22,920 --> 00:40:26,839
Speaker 4: we stopped using it because it was unique for us

773
00:40:26,920 --> 00:40:28,799
Speaker 4: moving right there in that spot. But we wanted to

774
00:40:28,800 --> 00:40:31,200
Speaker 4: open up. We couldn't open up because the mic was

775
00:40:31,239 --> 00:40:33,640
Speaker 4: just right there, and you know, so after a while

776
00:40:33,680 --> 00:40:36,239
Speaker 4: we said, man, the mic is great and it has

777
00:40:36,400 --> 00:40:38,200
Speaker 4: more on off his novelty and what have you. So

778
00:40:39,239 --> 00:40:41,600
Speaker 4: we stopped using it and wanted to be spread out

779
00:40:41,640 --> 00:40:42,600
Speaker 4: all more on stage.

780
00:40:42,640 --> 00:40:46,520
Speaker 1: I always wanted to know. When I was twenty something,

781
00:40:46,520 --> 00:40:49,759
Speaker 1: I had a particular light stand that was sort of

782
00:40:49,760 --> 00:40:52,239
Speaker 1: like a boom mic that had two lights on it, right,

783
00:40:52,680 --> 00:40:55,240
Speaker 1: but it would always fall over, and I always wondered

784
00:40:56,640 --> 00:40:59,040
Speaker 1: how sturdy that microphone stand was. Like if you if

785
00:40:59,040 --> 00:41:01,960
Speaker 1: one guy were to a and throw off the balance

786
00:41:01,960 --> 00:41:04,239
Speaker 1: of it, has that microphone and stand ever fallen over?

787
00:41:04,280 --> 00:41:04,759
Speaker 1: It never on.

788
00:41:05,840 --> 00:41:07,840
Speaker 4: People did a great job of balancing it out with

789
00:41:07,880 --> 00:41:10,280
Speaker 4: the four hits on it, and they hit the support

790
00:41:10,400 --> 00:41:13,359
Speaker 4: system on the each mic that if I should move

791
00:41:13,440 --> 00:41:15,239
Speaker 4: my mind it would until the.

792
00:41:15,320 --> 00:41:17,160
Speaker 5: Others star trek.

793
00:41:19,320 --> 00:41:26,680
Speaker 1: That's yeah, that's uh yeah, okay, it must be sturdy.

794
00:41:29,120 --> 00:41:36,719
Speaker 1: I know that. In the mid seventies kind of a

795
00:41:36,800 --> 00:41:41,960
Speaker 1: little bit after the song for you House Party Area era.

796
00:41:44,280 --> 00:41:47,600
Speaker 1: You guys went to Atlantic. Mm hmmm, well I bear

797
00:41:47,640 --> 00:41:50,120
Speaker 1: it back. I forget that album before it, but.

798
00:41:51,560 --> 00:41:55,640
Speaker 4: Between was the first album with Atlantic.

799
00:41:56,200 --> 00:42:02,480
Speaker 1: Look, but my question is, uh, how hard was it

800
00:42:02,560 --> 00:42:05,960
Speaker 1: to leave Moti Weave an institution like Motown? And I

801
00:42:06,040 --> 00:42:08,120
Speaker 1: know that, you know, the four Tops went to ABC

802
00:42:08,320 --> 00:42:11,840
Speaker 1: for a second and some artist, the Jackson's went to

803
00:42:12,000 --> 00:42:14,160
Speaker 1: C So everyone was sort of making it.

804
00:42:14,400 --> 00:42:16,919
Speaker 4: I'll tell you something that's very and they didn't show

805
00:42:16,960 --> 00:42:21,080
Speaker 4: this in the over. We still had time on our contract,

806
00:42:23,160 --> 00:42:25,800
Speaker 4: you know. Barry said he got tired of running Motown

807
00:42:25,840 --> 00:42:27,960
Speaker 4: on a day to day basis. It was beginning to

808
00:42:28,160 --> 00:42:31,920
Speaker 4: weigh him down. So he started hiring like Abner who

809
00:42:32,000 --> 00:42:37,200
Speaker 4: used to be with VJ Records. Then Abnue left and

810
00:42:37,280 --> 00:42:40,799
Speaker 4: he had this guy named Barney Ellis that was running it.

811
00:42:41,600 --> 00:42:47,080
Speaker 4: So we had a meeting, uh with Barney Ellis, h

812
00:42:48,719 --> 00:42:57,120
Speaker 4: ral Selson, the attorney Shelley susaner Paz and attempts. So

813
00:42:57,920 --> 00:43:01,640
Speaker 4: mister Ellis, I guess he was pissed off because we

814
00:43:01,680 --> 00:43:04,000
Speaker 4: had the jackson in us had the same attorney aide

815
00:43:04,040 --> 00:43:08,040
Speaker 4: summons A noted entertainment attorney, and he had engineered a

816
00:43:08,080 --> 00:43:10,920
Speaker 4: hell of a contract for the Jackson's to sign with Epic.

817
00:43:12,440 --> 00:43:15,600
Speaker 4: And so when we had the meeting with mister Ellis,

818
00:43:16,560 --> 00:43:19,480
Speaker 4: it was a wind chi effect in the room. So

819
00:43:19,880 --> 00:43:24,279
Speaker 4: he said he took his list. B Am. Soon as

820
00:43:24,360 --> 00:43:26,640
Speaker 4: y'all get rid of mister Summers, the better things to

821
00:43:26,719 --> 00:43:30,680
Speaker 4: be for you guys around here. The room would hush.

822
00:43:31,840 --> 00:43:36,520
Speaker 4: I said, said, what soon as you get rid of

823
00:43:36,560 --> 00:43:38,600
Speaker 4: mister Summers, things to be a lot better for you

824
00:43:38,680 --> 00:43:42,840
Speaker 4: guys around here. I said, oh, no, we're not getting

825
00:43:42,920 --> 00:43:45,040
Speaker 4: rid of our attorneys because you guys got somebody people

826
00:43:45,080 --> 00:43:46,920
Speaker 4: around here that we don't like. But I bet you

827
00:43:46,960 --> 00:43:50,759
Speaker 4: won't find them because we don't like them. So he

828
00:43:50,800 --> 00:43:53,120
Speaker 4: pointed down at the end of the table to ralh Selston.

829
00:43:53,160 --> 00:43:56,600
Speaker 4: He said, if Abe Summons called, don't you answer his call?

830
00:43:58,760 --> 00:44:03,240
Speaker 4: I said, oh, Susanne said there Shelley sat there the group.

831
00:44:03,840 --> 00:44:06,360
Speaker 4: So I said, well, I guess that's the end of

832
00:44:06,360 --> 00:44:10,359
Speaker 4: the meeting. So we left. Marvin Gaye had to come

833
00:44:10,400 --> 00:44:13,600
Speaker 4: in and have the same meeting with this guy. Susie

834
00:44:13,600 --> 00:44:15,960
Speaker 4: I Ketta, who was our project manager. She called me.

835
00:44:16,040 --> 00:44:22,080
Speaker 4: She said, oldest Marvin just left the meeting. Cried, I said, well,

836
00:44:22,080 --> 00:44:25,439
Speaker 4: why do Barry have this guy running his axe off

837
00:44:25,560 --> 00:44:29,000
Speaker 4: like this? So Barry was in a La Costa on

838
00:44:29,160 --> 00:44:33,120
Speaker 4: vacation and he called me in and he said, oldis

839
00:44:33,800 --> 00:44:39,239
Speaker 4: I am so sorry that that went down? Uh, what

840
00:44:39,320 --> 00:44:42,600
Speaker 4: can we do to erectify it? I said, we want

841
00:44:42,640 --> 00:44:47,520
Speaker 4: to leave Barry silence on the phone. He said, well,

842
00:44:48,600 --> 00:44:50,560
Speaker 4: what kind of money can we get? I said, it's

843
00:44:50,560 --> 00:44:53,879
Speaker 4: not about money, it's about respect. Now we don't wanna

844
00:44:53,880 --> 00:44:57,440
Speaker 4: be here. So he was very sad in hear that.

845
00:44:57,600 --> 00:45:00,919
Speaker 4: He said, all right, we'll work it out and we'll

846
00:45:01,360 --> 00:45:05,360
Speaker 4: we'll get past this. And they worked it out. We

847
00:45:05,440 --> 00:45:09,000
Speaker 4: left Motown and signed with uh uh, we're almost signed

848
00:45:09,000 --> 00:45:12,600
Speaker 4: with CBS. But it was predicated on gambling hoof presenting

849
00:45:12,760 --> 00:45:16,879
Speaker 4: uh producing us but yeah, whoa yeah, Now, well Kenny

850
00:45:16,920 --> 00:45:20,840
Speaker 4: and I go back to doing the early sixties. Yeah yeah,

851
00:45:20,880 --> 00:45:23,160
Speaker 4: oh yeah, I mean cause CBS was getting ready to

852
00:45:23,200 --> 00:45:24,640
Speaker 4: get up out for a ton of money for us,

853
00:45:25,280 --> 00:45:27,680
Speaker 4: you know. But Kenny told me, he said, oh this

854
00:45:27,920 --> 00:45:30,880
Speaker 4: after I do the Jackson's cause he did, uh the Jackson,

855
00:45:31,080 --> 00:45:34,160
Speaker 4: enjoy yourself, He said, no, I wanna concentrate on my

856
00:45:34,200 --> 00:45:36,680
Speaker 4: own acts. He said, yeah, you know, I've always wanted

857
00:45:36,719 --> 00:45:41,279
Speaker 4: to produced attempts, but uh, I'm just gonna concentrate on

858
00:45:41,360 --> 00:45:44,280
Speaker 4: my axe. And I said, I'll be damn. I said, well, Kenny,

859
00:45:44,360 --> 00:45:46,400
Speaker 4: I can't argue with you because if if this is

860
00:45:46,440 --> 00:45:48,640
Speaker 4: what you wanna do, yeah, you gotta do what you

861
00:45:48,719 --> 00:45:53,120
Speaker 4: have to do. And so Jerry Greenberg, who was the

862
00:45:53,120 --> 00:45:56,560
Speaker 4: president of Atlantic Records, made a a wonderful offer, and

863
00:45:56,600 --> 00:45:58,520
Speaker 4: so Ape Summons worked it out, and so we went

864
00:45:58,560 --> 00:45:59,600
Speaker 4: to Atlantic Records.

865
00:45:59,680 --> 00:46:02,520
Speaker 1: But then you guys have messed with I'm at urgan

866
00:46:02,600 --> 00:46:06,040
Speaker 1: at all, Like I mean, was he oh, well, you

867
00:46:06,080 --> 00:46:08,720
Speaker 1: know it was glad that Okay, so it wasn't hands

868
00:46:08,760 --> 00:46:09,280
Speaker 1: on and.

869
00:46:09,480 --> 00:46:12,080
Speaker 4: Yeah, yeah, oh yeah, he really wanted to snap. But

870
00:46:12,520 --> 00:46:15,160
Speaker 4: Jerry Greenbery was the president of BAT at the time.

871
00:46:16,360 --> 00:46:18,600
Speaker 1: So you're saying the leadership of Motown in the mid

872
00:46:18,640 --> 00:46:21,200
Speaker 1: seventies sort of caused sourness something.

873
00:46:21,400 --> 00:46:23,279
Speaker 4: Yeah, yeah, truth be told, shame the Devil.

874
00:46:23,360 --> 00:46:26,480
Speaker 1: Yeah, wow, I'm learning all these.

875
00:46:26,880 --> 00:46:29,320
Speaker 5: Truth the Devil a monkey on.

876
00:46:29,520 --> 00:46:31,040
Speaker 1: Yeah, I'm learning.

877
00:46:30,800 --> 00:46:35,720
Speaker 5: All I'm glad to know because I was. It's funny.

878
00:46:35,719 --> 00:46:37,000
Speaker 5: I was in watching that series.

879
00:46:37,040 --> 00:46:39,720
Speaker 2: I was like, so it's always been Sunshine and Roses

880
00:46:39,760 --> 00:46:42,279
Speaker 2: with mister Gordy and the temptation that just was an

881
00:46:42,320 --> 00:46:43,359
Speaker 2: odd well, you.

882
00:46:43,320 --> 00:46:45,880
Speaker 4: Know for mister Gordon and us. Yeah, we've we pretty

883
00:46:45,920 --> 00:46:49,480
Speaker 4: much always haven't had a wonderful long yeah, no relationship

884
00:46:49,600 --> 00:46:50,160
Speaker 4: even today.

885
00:46:50,280 --> 00:46:52,080
Speaker 2: And even in that part where you know you and

886
00:46:52,120 --> 00:46:54,759
Speaker 2: they introduced Shelley. It's an interesting practice back then and

887
00:46:54,800 --> 00:46:56,480
Speaker 2: I don't think, I guess it's not his practice now

888
00:46:56,480 --> 00:46:58,799
Speaker 2: in the music industry where he introduced you guys to

889
00:46:58,880 --> 00:47:01,399
Speaker 2: your manager right back then, right back then.

890
00:47:01,520 --> 00:47:05,600
Speaker 4: At the beginning esther Gordy Barry's oldest sister was our manager.

891
00:47:06,239 --> 00:47:08,520
Speaker 4: But I feel I guess he felt, yeah.

892
00:47:08,920 --> 00:47:13,759
Speaker 6: He was all up in mister yeah my family, Yeah yeah,

893
00:47:13,840 --> 00:47:16,080
Speaker 6: yeah yeah, but uh, I guess he felt as though

894
00:47:16,320 --> 00:47:17,960
Speaker 6: he needed somebody that they could get us on their

895
00:47:18,040 --> 00:47:23,680
Speaker 6: Sullivan's show when exposed us to Yeah, because he got

896
00:47:23,760 --> 00:47:27,600
Speaker 6: us away from ABC Records and we signed with William

897
00:47:27,600 --> 00:47:30,719
Speaker 6: Morris and that was a big bullhur behind us leaving

898
00:47:30,760 --> 00:47:34,719
Speaker 6: ABC because she let well, like I said it.

899
00:47:34,680 --> 00:47:36,759
Speaker 4: With some things that went down then. I won't go

900
00:47:36,880 --> 00:47:42,440
Speaker 4: into too deep, but I've had a very interesting career settle.

901
00:47:42,600 --> 00:47:47,359
Speaker 1: You guys return in eighty with uh power power Yeah right,

902
00:47:47,440 --> 00:47:52,120
Speaker 1: and he so he he Barry Gordy produced that himself.

903
00:47:52,160 --> 00:47:56,480
Speaker 4: For yes, he did. Barry sat on Power because we

904
00:47:56,480 --> 00:48:00,520
Speaker 4: were at Atlantic and elvan de Barge. Excuse me, was

905
00:48:00,960 --> 00:48:03,600
Speaker 4: the the bars were still there and uh he said,

906
00:48:04,080 --> 00:48:06,319
Speaker 4: I knew you guys was coming back. I said, really,

907
00:48:06,320 --> 00:48:08,920
Speaker 4: Bear he said, oh yeah, he said, I know. It

908
00:48:09,040 --> 00:48:11,560
Speaker 4: was just amount of time, he said. I had worked

909
00:48:11,560 --> 00:48:14,439
Speaker 4: there on this song Power, he said, but I did

910
00:48:14,480 --> 00:48:16,839
Speaker 4: not have a group over here that could pull it off,

911
00:48:16,960 --> 00:48:20,720
Speaker 4: like I knew the tenth Wood because he loved Melvin's power,

912
00:48:21,239 --> 00:48:23,160
Speaker 4: that base. He loved Melvin's base.

913
00:48:25,160 --> 00:48:29,600
Speaker 1: Yeah, that's seven minutes in a row man, that's right, right, Okay,

914
00:48:29,640 --> 00:48:31,960
Speaker 1: how many tastes did that? Like? Was that a lot

915
00:48:32,000 --> 00:48:34,680
Speaker 1: of cutting and face thing or he just just straight

916
00:48:34,960 --> 00:48:36,719
Speaker 1: straight through? Wow?

917
00:48:37,000 --> 00:48:37,919
Speaker 4: Straight through?

918
00:48:38,160 --> 00:48:39,640
Speaker 1: That's hard. Yeah.

919
00:48:40,239 --> 00:48:43,719
Speaker 4: Yeah, he got behind that might close his eyes and

920
00:48:43,719 --> 00:48:46,799
Speaker 4: he would bowl his fists and he was there just

921
00:48:46,840 --> 00:48:50,760
Speaker 4: like a metronome right in that pocket. And uh, Barris,

922
00:48:50,760 --> 00:48:53,920
Speaker 4: I knew you guys were coming back, And uh we

923
00:48:54,000 --> 00:48:58,799
Speaker 4: did Power two hundred thousand immediately right out the gate.

924
00:48:59,560 --> 00:49:05,280
Speaker 4: It was a riot down in Florida. The stations across

925
00:49:05,320 --> 00:49:08,359
Speaker 4: the country got off of it bigcause they didn't want

926
00:49:08,680 --> 00:49:11,200
Speaker 4: the lyrics that were so powerful in power.

927
00:49:11,440 --> 00:49:11,720
Speaker 1: Yeah.

928
00:49:11,840 --> 00:49:14,959
Speaker 4: Yeah, they didn't want to incense it to go any further.

929
00:49:15,200 --> 00:49:19,000
Speaker 4: And we were hot, you know, broken because the record

930
00:49:19,160 --> 00:49:21,800
Speaker 4: was moving, it was going, but that incident down in

931
00:49:21,840 --> 00:49:24,600
Speaker 4: Florida made made the dis job gets back up off

932
00:49:24,640 --> 00:49:27,879
Speaker 4: of it because you know it was tenuous times even

933
00:49:27,920 --> 00:49:28,560
Speaker 4: at that time.

934
00:49:29,440 --> 00:49:30,920
Speaker 1: So was it your idea?

935
00:49:31,480 --> 00:49:31,760
Speaker 4: Uh?

936
00:49:32,880 --> 00:49:35,200
Speaker 1: I guess in eighty two, and I guess to commemorate

937
00:49:35,440 --> 00:49:38,200
Speaker 1: the by that point, I don't know if it was

938
00:49:38,360 --> 00:49:41,879
Speaker 1: twenty years or thirty, I don't know how long. When

939
00:49:41,880 --> 00:49:43,880
Speaker 1: did you guys? You guys officially started in sixty or

940
00:49:43,920 --> 00:49:44,399
Speaker 1: sixty two?

941
00:49:44,840 --> 00:49:45,800
Speaker 4: What motown?

942
00:49:45,880 --> 00:49:46,080
Speaker 1: Yeah?

943
00:49:46,120 --> 00:49:49,000
Speaker 4: Sixty one. I have a contract in my home that

944
00:49:49,080 --> 00:49:49,720
Speaker 4: my mother signed.

945
00:49:49,719 --> 00:49:52,680
Speaker 1: Okay sixty one, So okay, so eighty two when the

946
00:49:52,800 --> 00:49:58,560
Speaker 1: reunion alum happens, that's to commemorate the twentieth Whose idea

947
00:49:58,760 --> 00:49:59,000
Speaker 1: was it?

948
00:49:59,080 --> 00:50:06,760
Speaker 4: To broker the our fan base? I have a saying

949
00:50:06,760 --> 00:50:10,439
Speaker 4: that I have since uh and been saying quite often

950
00:50:10,480 --> 00:50:12,239
Speaker 4: a few people around me and say, oldest, I see

951
00:50:12,400 --> 00:50:16,040
Speaker 4: what you mean when you said the world loves us,

952
00:50:17,200 --> 00:50:20,600
Speaker 4: but we did not love ourself. We would let matter

953
00:50:21,160 --> 00:50:24,800
Speaker 4: what shouldn't matter, drugs. I mean, I'm just under the

954
00:50:24,840 --> 00:50:26,840
Speaker 4: way it is drugs.

955
00:50:28,280 --> 00:50:34,040
Speaker 1: So it was. The reunion was sort of bittersweet. Yeah

956
00:50:34,800 --> 00:50:37,400
Speaker 1: when if you guys tour behind that record or yes,

957
00:50:37,200 --> 00:50:41,640
Speaker 1: yeah standing on the top. Yeah, we returned. Our first

958
00:50:41,760 --> 00:50:45,680
Speaker 1: date was in Detroit, Michigan, at the Fisher Theater. David

959
00:50:45,760 --> 00:50:50,799
Speaker 1: Ruffin came and he said, oldest, I promise you, I

960
00:50:50,840 --> 00:50:52,840
Speaker 1: won't be doing all that crazy shit that I was

961
00:50:52,840 --> 00:50:55,160
Speaker 1: doing before. I just want to get back in the group.

962
00:50:55,320 --> 00:50:58,640
Speaker 1: I promise you I'm straight. Because for the I was

963
00:50:58,680 --> 00:51:00,600
Speaker 1: the last man the whole lot, because I was saying,

964
00:51:00,920 --> 00:51:02,719
Speaker 1: come on, bruh, let's do this yere. You know the

965
00:51:02,800 --> 00:51:05,000
Speaker 1: fans want you were the last old day. I felt

966
00:51:05,000 --> 00:51:07,279
Speaker 1: like it was your idea, like back.

967
00:51:07,200 --> 00:51:10,080
Speaker 4: Here, cause I knew what they were doing, even when

968
00:51:10,080 --> 00:51:12,799
Speaker 4: I had my my own set of temptations. Okay, yeah,

969
00:51:12,880 --> 00:51:14,600
Speaker 4: cause I would see here there from time to time,

970
00:51:14,760 --> 00:51:18,920
Speaker 4: and Paul he was already gone because Paul had passed,

971
00:51:19,040 --> 00:51:22,920
Speaker 4: uh what seventy and seventy one? That about. But I

972
00:51:22,960 --> 00:51:25,480
Speaker 4: knew what David was doing, I knew what Eddie was doing.

973
00:51:25,560 --> 00:51:27,800
Speaker 4: And you know, and I I'm not sitting here denigrating

974
00:51:27,800 --> 00:51:29,560
Speaker 4: these guys, cause I love him still. But you know,

975
00:51:29,600 --> 00:51:32,160
Speaker 4: like I said, tell the truth, shame the devil. So

976
00:51:33,040 --> 00:51:35,920
Speaker 4: even Kenny Gamma. We went to Philly and Kenny has

977
00:51:36,160 --> 00:51:40,000
Speaker 4: always wanted to produce the TEMs, and uh Jimmy Bishop

978
00:51:40,080 --> 00:51:42,400
Speaker 4: was the spearhead of trying to get it together. But

979
00:51:42,440 --> 00:51:44,880
Speaker 4: I guess for whatever reason, Jimmy Bishop bowed out.

980
00:51:44,840 --> 00:51:47,320
Speaker 2: Wow, Jimmy Bishop, that's like legendary name and uh the

981
00:51:47,640 --> 00:51:50,080
Speaker 2: Philadelphia r Yeah.

982
00:51:50,160 --> 00:51:55,800
Speaker 4: So uh anyway, we uh persevered and uh I said, alright, Melvin,

983
00:51:56,600 --> 00:51:59,840
Speaker 4: let's do this. So we got together and we started

984
00:52:00,160 --> 00:52:04,440
Speaker 4: arson and we got a very good show together. First day.

985
00:52:04,560 --> 00:52:08,600
Speaker 4: Well we're broken in down and uh place in Texas

986
00:52:08,640 --> 00:52:12,719
Speaker 4: to you know, the customary thing for us go off

987
00:52:12,719 --> 00:52:15,040
Speaker 4: and break the act in off the beaten paths, so

988
00:52:15,120 --> 00:52:17,719
Speaker 4: when we get on the shown of how visible road,

989
00:52:17,800 --> 00:52:21,000
Speaker 4: we'd be tight. So when we cat got to Detroit

990
00:52:22,640 --> 00:52:30,359
Speaker 4: Fisher Theater, people wrapped around the building and like I said,

991
00:52:30,400 --> 00:52:32,960
Speaker 4: I'm not trying to integrate anybody. But time we got there,

992
00:52:33,719 --> 00:52:37,120
Speaker 4: Ruffing was roughing. Yeah.

993
00:52:37,200 --> 00:52:40,680
Speaker 1: Do you think that was a fear of his? Like

994
00:52:41,360 --> 00:52:45,879
Speaker 1: what do you what's your assessment of not being able

995
00:52:45,960 --> 00:52:49,440
Speaker 1: to let those demons demons go. I've at least in

996
00:52:49,440 --> 00:52:56,359
Speaker 1: my particular field. I know that cats that that all

997
00:52:56,360 --> 00:52:58,040
Speaker 1: they have to do is just step up to the

998
00:52:58,080 --> 00:53:00,960
Speaker 1: plate and do what they gotta do. And but he

999
00:53:01,040 --> 00:53:01,319
Speaker 1: had a.

1000
00:53:01,239 --> 00:53:07,000
Speaker 4: Crazy he's right, Yeah, yeah, it was kind of.

1001
00:53:07,520 --> 00:53:11,560
Speaker 1: But I always just wondered, like him not being able

1002
00:53:11,600 --> 00:53:13,839
Speaker 1: to get it together. I mean, obviously that stems from

1003
00:53:13,840 --> 00:53:16,360
Speaker 1: a fear. I don't know if that's survivor's guilt. I

1004
00:53:16,360 --> 00:53:18,920
Speaker 1: don't know if that's you know, like.

1005
00:53:19,400 --> 00:53:24,080
Speaker 4: Of course, you know how everybody can handle success. Success

1006
00:53:24,080 --> 00:53:27,480
Speaker 4: can be a strong athe for Djak, you know, And

1007
00:53:27,520 --> 00:53:31,000
Speaker 4: it's all I mean on the real set. There have

1008
00:53:31,120 --> 00:53:33,440
Speaker 4: been so many different parties for us throughout our career

1009
00:53:33,480 --> 00:53:36,040
Speaker 4: that we were in Detroit and I had to go

1010
00:53:36,080 --> 00:53:39,040
Speaker 4: off to myself and pinch myself. So I don't believe

1011
00:53:39,080 --> 00:53:42,879
Speaker 4: this year shit is really happening. I mean, all kind

1012
00:53:42,920 --> 00:53:45,359
Speaker 4: of doors was opening up to us. I mean all

1013
00:53:45,400 --> 00:53:48,239
Speaker 4: kinds of adulation, you know, women, you know, all kinds

1014
00:53:48,239 --> 00:53:51,000
Speaker 4: of things. You know that if you're not strong from within,

1015
00:53:51,400 --> 00:53:53,880
Speaker 4: oh yeah, it can go yeah, you know so, but

1016
00:53:54,320 --> 00:53:56,040
Speaker 4: we all handle success differently.

1017
00:53:56,200 --> 00:53:58,719
Speaker 2: But you also you always you mentioned like your mom

1018
00:53:58,840 --> 00:53:59,920
Speaker 2: signed your first contract.

1019
00:54:00,160 --> 00:54:01,080
Speaker 5: He had a foundation.

1020
00:54:01,400 --> 00:54:04,200
Speaker 2: Yeah, and I know briefly in the series they mentioned

1021
00:54:04,239 --> 00:54:06,400
Speaker 2: like David he said, he was like raised by a

1022
00:54:06,440 --> 00:54:10,520
Speaker 2: pimp and like he had all so in that foundation,

1023
00:54:10,600 --> 00:54:12,440
Speaker 2: and a lot of y'all had some good like even Melvin

1024
00:54:12,600 --> 00:54:14,560
Speaker 2: you can tell had like the foundation.

1025
00:54:14,640 --> 00:54:17,560
Speaker 5: His mother was yeah yeah.

1026
00:54:17,560 --> 00:54:18,520
Speaker 4: But the Ruffian did.

1027
00:54:18,600 --> 00:54:18,719
Speaker 1: Uh.

1028
00:54:18,800 --> 00:54:21,480
Speaker 4: He had had a very sordid life, you know, in

1029
00:54:21,520 --> 00:54:24,759
Speaker 4: the sense of uh yeah, uh little They called him

1030
00:54:24,760 --> 00:54:28,320
Speaker 4: at first little David Bush yeah, because he was er

1031
00:54:28,520 --> 00:54:32,240
Speaker 4: uh living with this guy named uh Eddie Bush, and

1032
00:54:32,320 --> 00:54:35,799
Speaker 4: so he took David under his arm wings and called

1033
00:54:35,880 --> 00:54:38,120
Speaker 4: him a little David Bush. And David had about six

1034
00:54:38,239 --> 00:54:42,319
Speaker 4: or seven singles before uh he joined the Thames and uh.

1035
00:54:42,360 --> 00:54:44,920
Speaker 4: I would see him at various record houses. And the

1036
00:54:45,000 --> 00:54:47,080
Speaker 4: brother was a cold piece of work, though I mean

1037
00:54:47,120 --> 00:54:48,840
Speaker 4: in the good sense. I mean David Ruffings throw that

1038
00:54:48,920 --> 00:54:51,160
Speaker 4: microphone up, spin around, dropped to his knees, and as

1039
00:54:51,160 --> 00:54:53,520
Speaker 4: the microphone came was coming down, he'd grab it and

1040
00:54:53,760 --> 00:54:56,920
Speaker 4: going into his act. So one day he said, oh this,

1041
00:54:57,080 --> 00:54:59,840
Speaker 4: I wanna sing with your group. And I was surprised

1042
00:55:00,040 --> 00:55:02,719
Speaker 4: cause I said, wait, wait, say back that train up,

1043
00:55:02,800 --> 00:55:05,800
Speaker 4: say it again, and he said, I wanna say it

1044
00:55:05,840 --> 00:55:08,440
Speaker 4: with your group. I said, boy, if you were to

1045
00:55:08,520 --> 00:55:10,520
Speaker 4: join us, we'd really be something else certain and he

1046
00:55:10,600 --> 00:55:13,080
Speaker 4: knew that we had a very strong reputation in Detroit

1047
00:55:13,080 --> 00:55:15,319
Speaker 4: as far as the group and doing what we do.

1048
00:55:16,040 --> 00:55:19,600
Speaker 4: And uh, so he joined the group in nineteen well

1049
00:55:19,760 --> 00:55:22,560
Speaker 4: sixty three when he started hanging with us. So it

1050
00:55:22,600 --> 00:55:27,279
Speaker 4: was six you know at the time. Because their Eddie, Paul, Melvin, Uh,

1051
00:55:27,400 --> 00:55:32,400
Speaker 4: David and and no Al and then David and we

1052
00:55:32,520 --> 00:55:36,399
Speaker 4: used to close the show would shout and uh, we're

1053
00:55:36,440 --> 00:55:40,960
Speaker 4: at this place called Chapis Lounge. And as we closed,

1054
00:55:40,960 --> 00:55:43,839
Speaker 4: they kept calling with us to come back. So we

1055
00:55:43,880 --> 00:55:47,280
Speaker 4: went back two more times and the third time, Uh

1056
00:55:47,920 --> 00:55:50,799
Speaker 4: they kept calling and uh, Al said, Man, we gotta

1057
00:55:50,840 --> 00:55:53,680
Speaker 4: go back. They keep calling us. So Paul said, man,

1058
00:55:53,680 --> 00:55:55,200
Speaker 4: what we gonna do. We can't keep going back there

1059
00:55:55,200 --> 00:55:57,600
Speaker 4: closing with shout. We've done it two times, you know,

1060
00:55:57,640 --> 00:56:01,920
Speaker 4: we gotta let it go. Al was drained and uh

1061
00:56:02,520 --> 00:56:06,319
Speaker 4: when Paul said no, we can't go back, Al said,

1062
00:56:07,239 --> 00:56:10,960
Speaker 4: and malf I'll hit you with this ball, right. And

1063
00:56:11,160 --> 00:56:13,759
Speaker 4: I was the only one that could could listen that

1064
00:56:13,920 --> 00:56:16,320
Speaker 4: I Al would listen to. I was just a little

1065
00:56:16,320 --> 00:56:19,000
Speaker 4: bit off time because when I I could read Al's eyes,

1066
00:56:19,040 --> 00:56:22,160
Speaker 4: his eyes eyes would get that kind of focused thing,

1067
00:56:22,200 --> 00:56:24,680
Speaker 4: I said, And by the time I tried to grab

1068
00:56:24,680 --> 00:56:31,040
Speaker 4: his arm right across Paul's note. I came out the

1069
00:56:31,080 --> 00:56:33,040
Speaker 4: club and leaned up against the door, came out of

1070
00:56:33,080 --> 00:56:36,880
Speaker 4: the dressingroom leaning up against the door, and Eddie, Melvin

1071
00:56:36,920 --> 00:56:38,800
Speaker 4: and Davis never was wrong, was wrong. They saw the

1072
00:56:38,880 --> 00:56:41,279
Speaker 4: look that I had on my face. I said, Al

1073
00:56:41,480 --> 00:56:45,759
Speaker 4: just opened up Paul's face. But check this out. Took

1074
00:56:45,960 --> 00:56:49,120
Speaker 4: Paul to the hospital. I said, well, you had to

1075
00:56:49,200 --> 00:56:50,680
Speaker 4: let Al go. I mean, Paul, were gonna have to

1076
00:56:50,760 --> 00:56:53,960
Speaker 4: let Al go. And no, no, don't don't do that.

1077
00:56:54,200 --> 00:56:56,080
Speaker 4: I feel we got we getting ready to make it.

1078
00:56:56,320 --> 00:56:57,880
Speaker 4: So I'm not gonna have that kind of fighting. And

1079
00:56:58,000 --> 00:57:01,400
Speaker 4: I said, we can have disagreements. I just thought his

1080
00:57:01,480 --> 00:57:03,359
Speaker 4: eyes was gone cause he hit him. Until the day

1081
00:57:03,480 --> 00:57:06,120
Speaker 4: Paul died, he had a scar right across the bridge's nose.

1082
00:57:06,200 --> 00:57:09,759
Speaker 4: M So we were at the Fox, and you know,

1083
00:57:09,840 --> 00:57:12,120
Speaker 4: like I said, Paul was the one that started us

1084
00:57:12,239 --> 00:57:15,960
Speaker 4: to be noted piocography. So Paul and Melbourne did this

1085
00:57:16,040 --> 00:57:18,160
Speaker 4: in moved where they would jump down and do the

1086
00:57:18,160 --> 00:57:22,440
Speaker 4: see boo the place that the Fox went crazy. So

1087
00:57:22,480 --> 00:57:23,960
Speaker 4: I said, hey, hell, come on, man, let's get a

1088
00:57:23,960 --> 00:57:27,120
Speaker 4: piece of action and all said, now, no, we're gonna

1089
00:57:27,120 --> 00:57:30,160
Speaker 4: stay back here with the pretty boys. And that's when

1090
00:57:30,200 --> 00:57:32,640
Speaker 4: I said, gotta let him go. Yep, gotta let him go.

1091
00:57:33,320 --> 00:57:35,360
Speaker 4: And when he came off, I said, you gotta go.

1092
00:57:35,400 --> 00:57:39,480
Speaker 4: Man entered David Ruffin and that's when the how the tempts,

1093
00:57:39,800 --> 00:57:43,320
Speaker 4: you know, the noted tempts became, Uh well, we are.

1094
00:57:48,520 --> 00:57:52,880
Speaker 1: Was there any interaction with uh EX members while they

1095
00:57:52,880 --> 00:57:56,360
Speaker 1: were on their solo ten years, like did you guys

1096
00:57:56,360 --> 00:57:59,440
Speaker 1: feel like a certain way about keep on trucking or

1097
00:57:59,560 --> 00:58:02,560
Speaker 1: or any of David ruff and stuff in the soul

1098
00:58:02,640 --> 00:58:03,920
Speaker 1: period or even oh.

1099
00:58:03,800 --> 00:58:06,480
Speaker 4: Well, I was happy to see that David and Eddie

1100
00:58:06,960 --> 00:58:10,080
Speaker 4: were able to still do you know, because very talented guys.

1101
00:58:10,600 --> 00:58:14,400
Speaker 4: Now My Whole World Ended? That was originally written for

1102
00:58:14,440 --> 00:58:17,800
Speaker 4: the Thames, okay, but Norman Whitfield, not Norman uh Harvey

1103
00:58:17,800 --> 00:58:20,880
Speaker 4: Fuqaha and Johnny Bristol. They could never get it to

1104
00:58:20,960 --> 00:58:24,160
Speaker 4: us because Norman Whitfield was a string of hits, stringer hits.

1105
00:58:24,200 --> 00:58:27,919
Speaker 4: So when David left, they put it on David. And

1106
00:58:27,960 --> 00:58:31,160
Speaker 4: that's the originals that's doing the background on My Whole

1107
00:58:31,160 --> 00:58:35,080
Speaker 4: World Ended? And uh well, Eddie, you know I knew

1108
00:58:35,200 --> 00:58:37,760
Speaker 4: Eddie would always be successful because he was such a

1109
00:58:37,880 --> 00:58:42,160
Speaker 4: unique uh talent saying wise, So Frank Wilson when he

1110
00:58:42,280 --> 00:58:44,479
Speaker 4: did tr uh keep on truck in and book it down,

1111
00:58:44,680 --> 00:58:48,600
Speaker 4: you know Edie was very, very uh success successful.

1112
00:58:49,160 --> 00:58:52,520
Speaker 1: Who in in your career as far as production is concerned,

1113
00:58:52,600 --> 00:58:57,360
Speaker 1: You guys worked with everyone from uh the Corporation to

1114
00:58:58,000 --> 00:59:02,000
Speaker 1: Normal Whitfield to Rick Change, Rick James il McKay, Yeah,

1115
00:59:02,280 --> 00:59:05,520
Speaker 1: Wind the Fire and all his cats, even what Benny

1116
00:59:05,560 --> 00:59:08,000
Speaker 1: Madeena even worked on the Reunion record. You ever seen

1117
00:59:08,000 --> 00:59:08,440
Speaker 1: his name there?

1118
00:59:09,520 --> 00:59:09,920
Speaker 5: Who?

1119
00:59:11,280 --> 00:59:14,080
Speaker 1: What is your what is your preferred? Not effective as

1120
00:59:14,120 --> 00:59:16,880
Speaker 1: far as who brought us the most hits? But who

1121
00:59:17,440 --> 00:59:20,520
Speaker 1: was your favorite producer to work with? As far as

1122
00:59:20,560 --> 00:59:23,200
Speaker 1: like who really understood the group? Who was pleasant to

1123
00:59:23,240 --> 00:59:23,600
Speaker 1: work with?

1124
00:59:24,240 --> 00:59:27,600
Speaker 4: I would have to say Smoke it first, Okay, Smoking

1125
00:59:27,680 --> 00:59:31,720
Speaker 4: being group singer. Smoking was always organized when he would

1126
00:59:31,760 --> 00:59:34,320
Speaker 4: bring us whatever song, the way you do the things

1127
00:59:34,320 --> 00:59:37,640
Speaker 4: you do my girls, since I lost my baby, he

1128
00:59:37,720 --> 00:59:39,960
Speaker 4: left the background harmonies up to us. He would show

1129
00:59:40,040 --> 00:59:43,320
Speaker 4: us the basic part of the song. But Smoking was

1130
00:59:43,360 --> 00:59:48,640
Speaker 4: always organized, easy to you know, work for record because

1131
00:59:48,720 --> 00:59:51,640
Speaker 4: when we did My Girl, how that came about? He

1132
00:59:51,680 --> 00:59:53,560
Speaker 4: came and saw us at the twenty grand, a noted

1133
00:59:54,000 --> 00:59:57,360
Speaker 4: club in Detroit, and after the show he came back.

1134
00:59:57,440 --> 00:59:59,200
Speaker 4: He was marveling on how great we were, and he

1135
00:59:59,240 --> 01:00:00,840
Speaker 4: looked at us and and then he looked at David.

1136
01:00:00,880 --> 01:00:04,120
Speaker 4: He said, I have a song for you and show

1137
01:00:04,400 --> 01:00:08,120
Speaker 4: us being young dum full of you know what, and

1138
01:00:08,120 --> 01:00:10,080
Speaker 4: he said, man, bring it on. We can sing anything.

1139
01:00:10,400 --> 01:00:13,560
Speaker 4: And we came here to the Pollow and we uh

1140
01:00:13,640 --> 01:00:17,080
Speaker 4: smoking him oh headline. We were co stars and field

1141
01:00:17,120 --> 01:00:19,560
Speaker 4: access on that. So in between the shows we would

1142
01:00:19,640 --> 01:00:24,480
Speaker 4: uh rehearse with Smoking and went back to Detroit after

1143
01:00:24,520 --> 01:00:27,560
Speaker 4: rehearsing with him for My Girl, and he put the

1144
01:00:27,600 --> 01:00:32,200
Speaker 4: background and the leason, and when Paul Riser came and

1145
01:00:32,240 --> 01:00:35,800
Speaker 4: added the strings and horns, Smoker was sitting at the console,

1146
01:00:35,960 --> 01:00:39,160
Speaker 4: you know, working the the boys, and uh, I said, Smoking,

1147
01:00:39,280 --> 01:00:41,800
Speaker 4: I don't know how big a record this is gonna become,

1148
01:00:42,800 --> 01:00:45,440
Speaker 4: but I think we got one on our hands. The

1149
01:00:45,560 --> 01:00:49,440
Speaker 4: record was recorded that fall of sixty four. They released

1150
01:00:49,440 --> 01:00:55,520
Speaker 4: it December twenty eighth, uh nineteen sixty four. We were

1151
01:00:55,560 --> 01:00:59,760
Speaker 4: at the Apollo February nineteen sixty five. Barry sent us

1152
01:00:59,760 --> 01:01:03,920
Speaker 4: at congratulating us. It's number one sold over me and Records.

1153
01:01:04,320 --> 01:01:07,520
Speaker 4: The Beatles sent us a telegram congratulating us, and I

1154
01:01:07,560 --> 01:01:10,880
Speaker 4: still have those uh telegrams at home now. But I

1155
01:01:10,920 --> 01:01:13,400
Speaker 4: always think back then, I said, I knew this song

1156
01:01:13,520 --> 01:01:15,320
Speaker 4: was gonna be something. I knew the song was good

1157
01:01:15,400 --> 01:01:17,200
Speaker 4: if at the you know, with the essence of us.

1158
01:01:17,200 --> 01:01:19,480
Speaker 4: But when Paul Riser added the stringer and the horns,

1159
01:01:19,520 --> 01:01:22,479
Speaker 4: it gave it a whole nother daylight and true enough,

1160
01:01:22,680 --> 01:01:26,080
Speaker 4: when we do that song today, it's like people growing

1161
01:01:26,360 --> 01:01:28,640
Speaker 4: up out of the ground like trees. They just started

1162
01:01:28,640 --> 01:01:32,280
Speaker 4: to stand up, and we made the mistake. Like years ago,

1163
01:01:33,200 --> 01:01:35,880
Speaker 4: record did what it was gonna do. So Paul was

1164
01:01:35,920 --> 01:01:38,400
Speaker 4: in charge of the rundown. He said, well, we can

1165
01:01:38,440 --> 01:01:40,000
Speaker 4: take my girl out of this. It did what it's

1166
01:01:40,040 --> 01:01:41,920
Speaker 4: gonna do. So we took it out and we did

1167
01:01:41,960 --> 01:01:46,960
Speaker 4: the show quest y'all. They call us every name except

1168
01:01:47,000 --> 01:01:51,080
Speaker 4: the child of God, so we will that is, I

1169
01:01:51,120 --> 01:01:53,320
Speaker 4: tell the guys even today, I said, there are some

1170
01:01:53,680 --> 01:01:58,040
Speaker 4: certain songs we can never ever take out. My girl,

1171
01:01:58,920 --> 01:02:01,480
Speaker 4: Uh just my matching nation. Ain't too proud to be.

1172
01:02:01,960 --> 01:02:04,800
Speaker 4: Can't get next to you. Papa was a rolling stone

1173
01:02:05,120 --> 01:02:08,800
Speaker 4: losing you now treat it like a lady. So like

1174
01:02:08,880 --> 01:02:11,320
Speaker 4: we have a new record album out now, and so

1175
01:02:11,560 --> 01:02:16,040
Speaker 4: I'm tasked with and I'm going to do because we

1176
01:02:16,080 --> 01:02:20,640
Speaker 4: only have a four hours show. Man, how long is.

1177
01:02:20,560 --> 01:02:24,400
Speaker 1: The average hour and a half to pack all this

1178
01:02:24,600 --> 01:02:27,880
Speaker 1: hour and a half? I mean that's with with banter

1179
01:02:28,000 --> 01:02:31,080
Speaker 1: in between and non met Just one.

1180
01:02:30,960 --> 01:02:32,920
Speaker 5: Hook, right, like, just go to one hook and then

1181
01:02:32,920 --> 01:02:33,640
Speaker 5: go to the next song.

1182
01:02:33,840 --> 01:02:39,480
Speaker 4: Well we got yeah, No, we work it our way.

1183
01:02:39,560 --> 01:02:41,760
Speaker 4: We well, like, ain't you proud? We do all of

1184
01:02:41,840 --> 01:02:44,280
Speaker 4: Ain't you proud? We do all of my girl and

1185
01:02:44,400 --> 01:02:45,040
Speaker 4: the what you do?

1186
01:02:45,640 --> 01:02:45,840
Speaker 2: Uh?

1187
01:02:46,120 --> 01:02:49,800
Speaker 4: Fortunately, you know, we try not to never cheat our

1188
01:02:49,840 --> 01:02:51,760
Speaker 4: fans because they paid their money to see the show.

1189
01:02:51,840 --> 01:02:55,320
Speaker 4: So but uh yeah, you know hour and a half.

1190
01:02:55,720 --> 01:02:57,800
Speaker 4: You know, we try and insert as much as we

1191
01:02:57,840 --> 01:03:00,880
Speaker 4: can so they can say, can still jumping around you

1192
01:03:01,000 --> 01:03:02,840
Speaker 4: after all? These just switched, That's what they're saying now,

1193
01:03:02,880 --> 01:03:05,920
Speaker 4: because we just did a big show in uh outside

1194
01:03:05,960 --> 01:03:07,680
Speaker 4: of Maryland, and it was packed there and I have

1195
01:03:07,760 --> 01:03:11,520
Speaker 4: been getting calls by man and the most amazing thing,

1196
01:03:11,120 --> 01:03:13,520
Speaker 4: he said, but the seold is still up there, keeping

1197
01:03:13,560 --> 01:03:15,200
Speaker 4: up with the rest of I said, I'm keeping up

1198
01:03:15,200 --> 01:03:15,640
Speaker 4: with them.

1199
01:03:16,600 --> 01:03:18,280
Speaker 1: Right, yo?

1200
01:03:18,360 --> 01:03:19,040
Speaker 5: What do you say that?

1201
01:03:19,120 --> 01:03:20,640
Speaker 2: Like the young artists who you know there are some

1202
01:03:20,720 --> 01:03:23,720
Speaker 2: artists who maybe two albums that are tired of doing

1203
01:03:23,760 --> 01:03:25,320
Speaker 2: their song that was the big hit in it.

1204
01:03:27,160 --> 01:03:32,080
Speaker 4: Any time you have fans that's been their heart earned

1205
01:03:32,120 --> 01:03:35,120
Speaker 4: money to come see you, and you're gonna tell I'm tired. Oh,

1206
01:03:35,160 --> 01:03:37,200
Speaker 4: we don't want to do that. Uh, then you should

1207
01:03:37,280 --> 01:03:37,720
Speaker 4: leave it alone.

1208
01:03:37,720 --> 01:03:38,840
Speaker 5: I want to do all my new stuff.

1209
01:03:40,360 --> 01:03:42,000
Speaker 4: They should leave the get out the business.

1210
01:03:42,240 --> 01:03:43,800
Speaker 5: That's what we think to when we're in the audience.

1211
01:03:43,800 --> 01:03:46,280
Speaker 4: But you know, see, yeah, well I'm an artist and

1212
01:03:46,280 --> 01:03:49,040
Speaker 4: I'm telling them that's the attitude you have. Get out

1213
01:03:49,040 --> 01:03:52,280
Speaker 4: of the business. Paper spend their hard earned money in

1214
01:03:52,360 --> 01:03:54,400
Speaker 4: the c these songs and you don't want to do them.

1215
01:03:54,320 --> 01:03:56,280
Speaker 5: Because you're tired tired of doing them.

1216
01:03:56,360 --> 01:03:59,320
Speaker 4: Yeah, I want to use the N word to please.

1217
01:04:01,360 --> 01:04:06,960
Speaker 1: How uh of the groups that you guys have inspired,

1218
01:04:07,000 --> 01:04:10,160
Speaker 1: especially the seventies onslaught of groups everyone from Blue Magic

1219
01:04:10,200 --> 01:04:13,800
Speaker 1: to boy Man Dynamics is period as well. I was

1220
01:04:13,840 --> 01:04:16,640
Speaker 1: sticking in the seventies, but I mean even even well,

1221
01:04:16,680 --> 01:04:21,080
Speaker 1: I mean well, yeah, just as at least no, no, no,

1222
01:04:21,240 --> 01:04:25,080
Speaker 1: hang on, because the thing is is that I feel

1223
01:04:25,120 --> 01:04:26,920
Speaker 1: like when it's twenty years down the line and it's

1224
01:04:26,920 --> 01:04:29,720
Speaker 1: someone young, then you're more willing to accept, like, yeah,

1225
01:04:29,720 --> 01:04:32,920
Speaker 1: I influenced them. Okay, get where you go. But how

1226
01:04:32,920 --> 01:04:36,320
Speaker 1: did you guys feel like with the onslought of all

1227
01:04:36,360 --> 01:04:38,520
Speaker 1: the seventies groups that are based on you guys, And

1228
01:04:38,560 --> 01:04:44,120
Speaker 1: I mean, like all those groups the choice for the champments, Yeah, enchantment,

1229
01:04:44,280 --> 01:04:47,240
Speaker 1: like just all those groups that have the same breakdown

1230
01:04:47,320 --> 01:04:51,040
Speaker 1: a falsetto guy, I have a bathroom. Guy, did you

1231
01:04:51,080 --> 01:04:53,680
Speaker 1: guys feel a certain way or you know?

1232
01:04:53,880 --> 01:04:56,280
Speaker 4: Of course we took it as a compliment, you know,

1233
01:04:56,560 --> 01:04:59,480
Speaker 4: and when you sit, I mean I gave it all

1234
01:04:59,480 --> 01:05:01,720
Speaker 4: the way today. Hey, when I watched Bruno Mars when

1235
01:05:01,720 --> 01:05:03,600
Speaker 4: he had he did the Super Bowl over a couple

1236
01:05:03,640 --> 01:05:07,600
Speaker 4: of years ago, I saw three important elements in his

1237
01:05:07,640 --> 01:05:12,320
Speaker 4: show James Brown, Michael Jackson and the temptation. Now he's

1238
01:05:12,360 --> 01:05:16,160
Speaker 4: here in the twenty first century, so our influence reached

1239
01:05:16,400 --> 01:05:19,560
Speaker 4: from now all the way back then runs the gamut.

1240
01:05:19,640 --> 01:05:21,720
Speaker 4: And when I have, uh I see somebody that's doing us,

1241
01:05:22,280 --> 01:05:25,160
Speaker 4: I said, Okay, I I liked him cause the Tempters

1242
01:05:25,240 --> 01:05:27,040
Speaker 4: influenced them. Ye know, so you can't do nothing but

1243
01:05:27,080 --> 01:05:29,080
Speaker 4: take it as a uh a compliment.

1244
01:05:28,760 --> 01:05:30,760
Speaker 1: You guys covered Bruno on the New Record, right.

1245
01:05:31,080 --> 01:05:32,640
Speaker 4: Uh yeah, we did one of his homes.

1246
01:05:32,720 --> 01:05:36,520
Speaker 1: Yeah uh huh And remember the time, right, uh yeah.

1247
01:05:36,400 --> 01:05:39,080
Speaker 4: Yeah, remember yeah. Uh well remember the time I tell

1248
01:05:39,120 --> 01:05:40,440
Speaker 4: you when I got the list and they said, we'll

1249
01:05:40,480 --> 01:05:42,800
Speaker 4: just pick out what you want uh to do for

1250
01:05:42,880 --> 01:05:46,080
Speaker 4: the new album. Uh. Mike had invited me down to

1251
01:05:46,520 --> 01:05:49,200
Speaker 4: the studio when he was recording. Remember the time, and

1252
01:05:49,280 --> 01:05:51,680
Speaker 4: him and I were in the uh his uh trailer

1253
01:05:51,760 --> 01:05:54,640
Speaker 4: talking you know, and uh when they said Mike were

1254
01:05:54,640 --> 01:05:56,240
Speaker 4: ready for you, but him and I were sitting in

1255
01:05:56,320 --> 01:05:59,360
Speaker 4: his trailer talking about days of Yo because uh and

1256
01:05:59,560 --> 01:06:02,160
Speaker 4: Tay will what brought back to mind because we were

1257
01:06:02,160 --> 01:06:05,840
Speaker 4: talking about we were in Chicago and uh Jesse Jackson

1258
01:06:05,960 --> 01:06:10,680
Speaker 4: had uh yeah, and they hit the ten of us

1259
01:06:10,760 --> 01:06:14,600
Speaker 4: on stage. So uh when I guess the girl said,

1260
01:06:14,720 --> 01:06:16,840
Speaker 4: oh oh they getting ready to come off the stage.

1261
01:06:17,560 --> 01:06:20,800
Speaker 4: All these women and girls start coming to get on

1262
01:06:20,840 --> 01:06:24,760
Speaker 4: the stage. So one of the security guys, what are

1263
01:06:24,800 --> 01:06:27,200
Speaker 4: we gonna do to protect these guys? There's ten of them.

1264
01:06:27,360 --> 01:06:30,320
Speaker 4: Somebody said get a U haul truck. They got a

1265
01:06:30,440 --> 01:06:32,960
Speaker 4: U haul truck. They put the ten of us in

1266
01:06:33,040 --> 01:06:37,040
Speaker 4: there with security and uh, it was pitch black. And

1267
01:06:37,120 --> 01:06:41,960
Speaker 4: then but Mike said, where's ODIs, Where's ODIs and somebody

1268
01:06:41,960 --> 01:06:44,080
Speaker 4: cut the light on inside the truck and I said, Mike, Mike,

1269
01:06:44,120 --> 01:06:47,120
Speaker 4: I'm right here. I never will forget the look that

1270
01:06:47,200 --> 01:06:49,720
Speaker 4: he had in his eyes of love now min you.

1271
01:06:49,800 --> 01:06:52,439
Speaker 4: He didn't ask about his brothers, he didn't ask about

1272
01:06:52,440 --> 01:06:56,000
Speaker 4: the other towns. Where's oldest? And I said, I might

1273
01:06:56,000 --> 01:06:57,600
Speaker 4: hear Mike come right here? And he looked up there

1274
01:06:57,600 --> 01:06:59,680
Speaker 4: and he had the damn this little I love you

1275
01:06:59,720 --> 01:07:03,720
Speaker 4: looking so But I was there the uh uh taping

1276
01:07:03,760 --> 01:07:05,520
Speaker 4: of remembering the time. So when I saw it, I said,

1277
01:07:05,520 --> 01:07:07,320
Speaker 4: oh no, we gotta do remember the time because it

1278
01:07:07,400 --> 01:07:10,360
Speaker 4: gave me that kind of remembrance that's so cool.

1279
01:07:12,120 --> 01:07:16,120
Speaker 1: In your in your entire catalog, if you could just

1280
01:07:17,000 --> 01:07:24,640
Speaker 1: what what to you is your three personal quintessential favorites

1281
01:07:25,800 --> 01:07:28,640
Speaker 1: and in the Temptations catalog right out the gate, my girl,

1282
01:07:29,280 --> 01:07:34,480
Speaker 1: So even though you performed it every day of your life, and.

1283
01:07:35,800 --> 01:07:40,720
Speaker 4: That's you, that one uh I had saying too proud

1284
01:07:40,760 --> 01:07:44,080
Speaker 4: to beg because Norman brought that track to my house

1285
01:07:44,120 --> 01:07:47,640
Speaker 4: because we all lived in Detroit, and I said, man,

1286
01:07:47,720 --> 01:07:51,120
Speaker 4: the track is oh you know, so ain't too proud?

1287
01:07:51,240 --> 01:07:54,400
Speaker 4: It would be the second one. You know. I'm a

1288
01:07:54,440 --> 01:07:57,240
Speaker 4: big temptation fan. I could go a lot longer than three,

1289
01:07:57,360 --> 01:08:00,560
Speaker 4: but you only pick three. Just my imagination.

1290
01:08:01,640 --> 01:08:05,040
Speaker 1: What okay, what one under the radar song that I

1291
01:08:05,080 --> 01:08:07,040
Speaker 1: was going to ask that? Yeah, never really made it,

1292
01:08:07,080 --> 01:08:11,480
Speaker 1: like a favorite of yours. That didn't make it, like

1293
01:08:11,520 --> 01:08:13,320
Speaker 1: when you think that deserves a second look, that didn't

1294
01:08:13,320 --> 01:08:14,320
Speaker 1: get a shot the first time.

1295
01:08:15,000 --> 01:08:19,000
Speaker 4: Now, this is one I really enjoy listening at. And

1296
01:08:19,040 --> 01:08:23,880
Speaker 4: it was a guy that worked at Motown named Steve McKeeva.

1297
01:08:24,160 --> 01:08:27,719
Speaker 1: Yes, yeah, okay.

1298
01:08:27,560 --> 01:08:33,759
Speaker 4: Oh yeah, he said, oldest that elevated eyes. I said, really,

1299
01:08:34,040 --> 01:08:35,360
Speaker 4: I said, I've always liked.

1300
01:08:35,240 --> 01:08:39,879
Speaker 1: That elevator eyes. That's a whole I work at thirty Rocks.

1301
01:08:40,479 --> 01:08:45,320
Speaker 1: That's hr we get sent to the principal office for elevator.

1302
01:08:45,520 --> 01:08:50,280
Speaker 4: Oh yeah, Well, young lady she since passed. She was

1303
01:08:50,320 --> 01:08:53,640
Speaker 4: a forensic psychologist and her and I were talking and

1304
01:08:53,680 --> 01:08:55,559
Speaker 4: she said, oldis have you ever heard of the term

1305
01:08:56,040 --> 01:09:00,679
Speaker 4: elevated eyes? I said, hell, oh no, I never heard

1306
01:09:00,680 --> 01:09:03,479
Speaker 4: of that. And she said, well, if you are working

1307
01:09:03,520 --> 01:09:06,639
Speaker 4: in the blue collar field and a young lady walk

1308
01:09:06,720 --> 01:09:10,000
Speaker 4: by and you be to my baby, you show oh

1309
01:09:10,200 --> 01:09:12,760
Speaker 4: excuse me and go and continue where she can go

1310
01:09:12,800 --> 01:09:16,439
Speaker 4: to the human resources h Yes, exactly your job.

1311
01:09:16,640 --> 01:09:20,439
Speaker 1: Wow, we're not alone. There was something that we just

1312
01:09:20,479 --> 01:09:20,800
Speaker 1: made up.

1313
01:09:21,640 --> 01:09:23,840
Speaker 4: But what made me really say, oh, okay, you're not

1314
01:09:23,880 --> 01:09:27,599
Speaker 4: the only one. Uh. Oprah had a forensic psychologists on

1315
01:09:27,640 --> 01:09:29,680
Speaker 4: our show and I asked her the same thing. She said, no,

1316
01:09:29,720 --> 01:09:31,960
Speaker 4: I've never I said, well, I don't feel like boo

1317
01:09:32,000 --> 01:09:35,200
Speaker 4: to fool any if over he heard, you know, and uh,

1318
01:09:35,439 --> 01:09:37,240
Speaker 4: I said, you know what, Kathy, I'm al write a

1319
01:09:37,240 --> 01:09:41,000
Speaker 4: song called Elevated Eyes, and uh, young lady wrote me,

1320
01:09:41,240 --> 01:09:42,880
Speaker 4: text me and she said, older, you need to do

1321
01:09:42,960 --> 01:09:46,040
Speaker 4: something with that Elevated Eyes. So that would be one

1322
01:09:46,080 --> 01:09:47,880
Speaker 4: that I would really and it would kind of be

1323
01:09:47,960 --> 01:09:51,599
Speaker 4: apropos what's what's happening with the me too? Thing? Because

1324
01:09:51,680 --> 01:09:54,000
Speaker 4: this song tells about her? You really, you know, you

1325
01:09:54,000 --> 01:09:55,960
Speaker 4: can see the young lady, but you don't trespass. You

1326
01:09:56,000 --> 01:09:59,640
Speaker 4: just let her know. She looks nice and peripheral. Yeah, uh,

1327
01:09:59,720 --> 01:10:01,599
Speaker 4: but you know you have to watch that. But that one.

1328
01:10:02,040 --> 01:10:04,800
Speaker 4: I told her, I'm gonna still work that out and

1329
01:10:04,840 --> 01:10:07,800
Speaker 4: find somebody to do it because the lyrics and the track,

1330
01:10:07,960 --> 01:10:08,800
Speaker 4: you know, it's tight.

1331
01:10:08,880 --> 01:10:10,240
Speaker 5: Now's the time, Yeah it is.

1332
01:10:10,560 --> 01:10:16,240
Speaker 1: I see my last question, how come you didn't sing more?

1333
01:10:17,000 --> 01:10:17,200
Speaker 4: You know?

1334
01:10:17,320 --> 01:10:18,639
Speaker 1: What prominently on the lead?

1335
01:10:19,320 --> 01:10:22,080
Speaker 4: Because your on point, because I was the lead singer

1336
01:10:22,240 --> 01:10:25,840
Speaker 4: at when we were the Distance. Okay, because Billy my

1337
01:10:26,160 --> 01:10:30,120
Speaker 4: valet he went on the internet and found Open your

1338
01:10:30,160 --> 01:10:32,640
Speaker 4: Heart and what else did it? It was another song that

1339
01:10:32,680 --> 01:10:36,479
Speaker 4: I did. But my thinking was when we got to

1340
01:10:36,560 --> 01:10:39,720
Speaker 4: Motown and you know, because it wasn't like, uh, I

1341
01:10:39,760 --> 01:10:41,720
Speaker 4: couldn't sing lead on it. I just say, man, I

1342
01:10:41,720 --> 01:10:44,000
Speaker 4: don't give ever care who sing as long as we

1343
01:10:44,080 --> 01:10:47,280
Speaker 4: make this money. And it wasn't like, oh wait, wait, bro,

1344
01:10:47,360 --> 01:10:50,320
Speaker 4: you're getting paid more because she sang lead. Oh hell no,

1345
01:10:50,560 --> 01:10:52,559
Speaker 4: I want to sing lead. So it wasn't that kind

1346
01:10:52,560 --> 01:10:52,840
Speaker 4: of thing.

1347
01:10:52,920 --> 01:10:54,920
Speaker 5: Oh, everybody got the same I was wondering about that.

1348
01:10:55,000 --> 01:10:57,800
Speaker 4: No excuse me, No, no, everybody got the same pay.

1349
01:10:58,120 --> 01:11:00,920
Speaker 2: But then that's weird because since you were found a member,

1350
01:11:01,080 --> 01:11:04,160
Speaker 2: and then so Melvin. But regardless, it's a new guy whatever,

1351
01:11:04,240 --> 01:11:05,240
Speaker 2: we all the same.

1352
01:11:05,680 --> 01:11:08,880
Speaker 4: Yeah, that's where it was at that. Yeah. And uh

1353
01:11:08,920 --> 01:11:11,559
Speaker 4: but Tom Bell. We did an album with Tom Bell

1354
01:11:12,200 --> 01:11:15,040
Speaker 4: and he recorded us and I was just hormming something

1355
01:11:15,120 --> 01:11:19,040
Speaker 4: and Tom stopped. He said, you the one I should

1356
01:11:19,080 --> 01:11:21,599
Speaker 4: be recording. I said, really, why you said that? He said,

1357
01:11:22,080 --> 01:11:26,920
Speaker 4: I like your voice. I said, oops, too late. You know,

1358
01:11:27,280 --> 01:11:30,360
Speaker 4: we had, you know, finished recording. But my attitude has

1359
01:11:30,439 --> 01:11:32,439
Speaker 4: always been like, hey man, I just wanted us to

1360
01:11:32,439 --> 01:11:34,160
Speaker 4: make it, and you know my ego didn't get hung

1361
01:11:34,240 --> 01:11:36,200
Speaker 4: up on the thing. Well I got the sing lead,

1362
01:11:36,240 --> 01:11:38,240
Speaker 4: I'm the group leader. I found this shit stuff. You know. No,

1363
01:11:38,600 --> 01:11:41,240
Speaker 4: it wasn't that with me. Let us all make money

1364
01:11:41,240 --> 01:11:45,400
Speaker 4: and be successful, and uh that's it, you know. But uh,

1365
01:11:46,200 --> 01:11:48,839
Speaker 4: I guess I never did really make any real bones

1366
01:11:48,840 --> 01:11:49,240
Speaker 4: about it.

1367
01:11:49,280 --> 01:11:52,519
Speaker 2: Just did you make What about the writing process because

1368
01:11:52,520 --> 01:11:55,080
Speaker 2: you said earlier on you wrote some songs for the stations,

1369
01:11:55,120 --> 01:11:56,200
Speaker 2: but did it continue on?

1370
01:11:56,200 --> 01:11:59,320
Speaker 5: Because it sounds like I'm okay, okay yeah.

1371
01:11:59,479 --> 01:12:03,519
Speaker 4: On our this album Temptations all the time I did

1372
01:12:03,840 --> 01:12:07,439
Speaker 4: along with two other guys waiting on you Elevate Eyes,

1373
01:12:08,840 --> 01:12:12,760
Speaker 4: Treaeau like the Lady. Yeah yeah, so no, I love

1374
01:12:12,760 --> 01:12:15,040
Speaker 4: writing when I can, you know, give a chance to

1375
01:12:15,040 --> 01:12:18,080
Speaker 4: do it. So yeah, that's my other thing of doing it.

1376
01:12:18,600 --> 01:12:22,960
Speaker 1: Well, I know you have another three hundred years in you, So.

1377
01:12:23,120 --> 01:12:27,080
Speaker 4: I love you Quz. Yeah. Yeah, I'm all. Like I said,

1378
01:12:27,080 --> 01:12:28,880
Speaker 4: I'm gonna ride the health the horse. When I get

1379
01:12:28,880 --> 01:12:29,960
Speaker 4: off the horse, it'll be ball.

1380
01:12:31,520 --> 01:12:33,360
Speaker 1: And that's how we have to end it. Thank you

1381
01:12:33,439 --> 01:12:37,439
Speaker 1: very much. We're coming on Quest Love Supreme. Thank you,

1382
01:12:38,200 --> 01:12:40,719
Speaker 1: thank you for you have love Boss Bill Sugar Steve.

1383
01:12:40,760 --> 01:12:43,759
Speaker 1: It's like yeah, particular and unpaid Bill. This is Quest

1384
01:12:43,760 --> 01:12:45,760
Speaker 1: Love of Quest Love Supreme. We will see you on

1385
01:12:45,800 --> 01:12:55,920
Speaker 1: the next go round. Thank you. Quest Love Supreme is

1386
01:12:55,920 --> 01:12:59,800
Speaker 1: a production of iHeartRadio. This classic episode was produced by

1387
01:12:59,840 --> 01:13:08,160
Speaker 1: the team at Pandora. For more podcasts from iHeartRadio, visit

1388
01:13:08,160 --> 01:13:11,720
Speaker 1: the iHeartRadio app, Apple Podcasts, or wherever you listen to

1389
01:13:11,800 --> 01:13:12,599
Speaker 1: your favorite shows.