In 1965 the Temptations were gaining serious momentum as one of Motown's most popular acts. Thanks partly to the assistance of Smokey Robinson, who contributed six songs, TEMPTIN' TEMPTATIONS kept that momentum rolling. In many ways, in fact, TEMPTIN' TEMPTATIONS, the group's third album for Motown, is a showcase for Robinson. He wrote and produced some bright, melodically spot-on tunes– the elegantly sad "Since I Lost My Baby," the charming "My Baby," and the infectious "You've Got to Earn It".
"Solid Rock" is a 1972 album by The Temptations for the Gordy (Motown) label, produced by Norman Whitfield. The LP was the first made primarily without founding members and original lead singers Eddie Kendricks and Paul Williams. Frustrated by conflicts and fights with Temptations Otis Williams and Melvin Franklin, and producer Whitfield's steadfast insistence on producing psychedelic soul for the group when they really wanted to sing ballads, Kendricks had quit the act and negotiated a solo deal with Motown's Tamla label.
"Masterpiece" is a 1973 album by The Temptations for the Gordy (Motown) label, produced and written by Norman Whitfield.
Released in early 2007 as part of Universal's extensive and cheaply packaged Number 1's series, this disc compiles 20 number one R&B singles from the Temptations.
If you're only going to own one Temptations disc, The Ultimate Collection is a very good one to get; it includes the majority of the group's biggest hits, the remastering sounds great, and the chronological sequence gives a fine picture of the group's constant musical evolution. The Ultimate Collection isn't the last word on the Temptations, but it's a splendid starting point to their music, and will add a satisfying portion of sweet-and-sour soul to your next party. Special added attraction: a rare a cappella take of "My Girl" is included as a bonus.
Like most entries in Universal Music's Millennium Collection (previously the province of MCA Records), The Best of Temptations, Vol. 1: The '60s is a solid budget-line collection containing 11 of their biggest hits from the '60s, including "My Girl," "I Can't Get Next to You," "Ain't to Proud to Beg," and "The Way You Do the Things You Do."
Representing much of the group's output for the year 1969, the two albums show the group advancing in the face of adversity - Paul Williams, who had been very much the Temptations' sparkplug in its earlier years, was in declining health, and music was changing around the group, almost faster than a lot of soul artists of the era could keep up with. This remastered collection is a reminder, even better than the Emperors Of Soul box, of precisely how ambitious and urgent the Temptations' music became in response, and how the group and producer Norman Whitfield helped expand and change soul music's boundaries in the process.
Puzzle People is the eleventh studio album released by The Temptations for the Gordy (Motown) label in 1969. Produced entirely by Norman Whitfield, Puzzle People takes the next step along the path that Cloud Nine started, and takes the Temptations further away from a classic soul sound, and more towards the realm of psychedelic soul. Although a few ballads, including "Running Away (Ain't Gonna Help You)," are still present, the album is primarily composed of Sly & the Family Stone/James Brown-derived proto-funk tracks such as the lead single "Don't Let the Joneses Get You Down," and the number-one Billboard Pop hit "I Can't Get Next to You." Also included are psychedelic-styled covers (recorded with distorted guitars, clavinets, and spacy reverb and sound effects) of contemporary songs such as The Isley Brothers' "It's Your Thing," The Beatles' "Hey Jude," and Roger Miller's "Little Green Apples."
Arguably the Temptations' best album since Truly For You dropped in 1984, For Lovers Only is not the Temptations' first album of standards. This set of classics is different than Temptations in a Mellow Mood, where they acquiesced to the material, giving relatively straight readings, and never deviated far from the songs' popular arrangements. The only things the standards on For Lovers Only have in common with the originals are the titles and the lyrics, the arrangements are completely different, and the tempos are changed. The Temptations' sing with this much enthusiasm in years.