12 - The Michigan Daily - Weekend etc. - Thursday, March 2, 1995 Temptations legacy not over yet 0 By Dirk Schulze Daily Arts Writer It's another legacy of the CD revo- lution: Stick around the music business long enough and, deserving or not, someone will compile a box set ofyour work. For some artists, the oversized compilations smack of contract fillers. For others, the sets can prove surpris- ingly effective, especially when pad- ded with previously unreleased mate- rial and assembled with love. "Emper- ors of Soul," a five-CD collection of music by the Temptations is a beautiful collection, covering ground from their very first incarnation as Otis Williams and the Distants to four tracks recorded in 1994. Few vocal groups have had such a profound effect on American music and "Emperors of Soul" demonstrates exactly why the Temptations were, indeed, royalty. They had it all, from the super-bass of Melvin Franklin to the sweet falsetto of Eddie Kendricks. In between were baritone Paul Will- iams and tenor Otis Williams and in front was David Ruffin, a brilliant lead vocalist who gave the songs edge, roughed them up a bit, wrapping his soulful phrasing around the melodies like he was born for the role. Other members have stepped in and out, passing through long enough to leave their mark before departing for the return of another member or the debut of a new talent. Through it all, the Temptations have retained their beau- tiful harmonies, their brilliant songcraft, their cool and their throne at the top. The Temptations have their roots in a quick 45 recorded in 1959 entitled "Come On" by future members Melvin Franklin, Eldridge Bryant and Otis Williams. Though the song went no- where, it showcased what was to be- come the Temptations signature sound: High and low harmonies, a steady middle and a rough lead. After recruit- ing Eddie Kendricks and Paul Will- iams, the Temptations were born and soon signed to Motown. "Emperors of Soul" charts their development with three songs released only as singles: "Come On," "Oh, Mother of Mine" and "Romance Without Finance" as well as several from their first record, "Meet the Temptations" and while songs like "Dream Come True" and "Check Yourself' are indisputably great, they are not up to other Motown releases of 1962. Even a year later, in 1963, the Temptations were still re- ceiving only second-rate Motown ma- terial. The songs and the emotion that the Temptations throw into the work attest that the band had the skills but they just did not have the right material for hits. The year 1964 began with a lineup change, with Eldridge Bryant fired for drinking and fighting and replaced by David Ruffin. With the fiery Ruffin in front, the Temptations scored theirfirst hit, "The Way You Do the Things You Do." When "My Girl" followed later thatyear, smashing into No. I positions everywhere, the band's status as a hitmaking machine was confirmed. Disc one ends with the wonderful, "My Baby," which climbed to number 13 on the pop charts. The second disc of "Emperors of Soul" charts the incredibly produc- tive battle between Smokey Robinson and Norman Whitfield for access to the Temptations. Both writers scored sev- eral hits for the group, with Whitfield's songs slowly gaining dominance over those of Robinson. Included here are the driving "Get Ready," the aggres- sive "Beauty Is Only Skin Deep," with its punchy horn section, most of the 1966 LP "The Temptations With A Lot of Soul" (including two songs recorded for that album and never released) and the wonderfully soulful "I Wish It Would Rain" from 1967's "The Temp- tations Wish It Would Rain." Sadly, the attention paid to Ruffin became too much for him and his attendance became lax, talk of drugs floated around and he was officially removed from the band in July of 1968. He was replaced by Dennis Edwards, just in time for a shift in style. Following the political, social and cultural upheavals of that time, the Temptations embraced a more psychedelic sound, weaving their five distinctive voices in and around the mix through a series of exciting re- leases: "Runaway Child, Running Wild," "Message From a Black Man," "Don't Let the Joneses Get You Down" and "Ungena Za Ulimwengu (Unite the World)." Musically, the band embraced guitar effects and horn lines echoing Indian chants. All was not as new, however: Disc three also features the incredible ballad, "Just My Imagination (Running Away From Me)," the band's first No. I on the pop chart since "My Girl" and the swan song of Eddie Kendricks, who left the band shortly after its release. Things got even funkier for the Temptations in the'70s and the band's '; , i + ;^. . S i : W . y 1 .- 1.. The Temptations, seen here in a less-than-current photo, do that:chooglin Motown thing. further development is traced care- fully on the fourth disc of "Emper- ors of Soul." Through a series of lineup changes, including the sui- cide of Paul Williams and the de- parture of Dennis Edwards, the group defined and redefined itself countless times, from the epic "Mas- terpiece" to the brilliant ballads and funk of "A Song for You," which features Eddie Hazel's crazed guitarwork on "Shakey Ground," and one of the band's finest perfor- mances in the form of "Memories." In 1980, Dennis Edwards ireturned, followed by Eddie Kendricks and David Ruffin in 1982. IBisc five opens with this new incarnations' slice o' Rick James-style funk, "Standing on the Top." Tho reunion ended nine months later when Ruffin and Kendricks left again, -ollowed this time by Edwards. Worlking with yet another new lineup, tie band turned in a fine performtnce on Luther Vandross's "Do You Really Love Your Baby." The final disc concludes with four brand new tracks, all recorded in 1994 and all still worthy of carrying the Tempta- tions name. Around in one form or another for over 30 years, the Temptations. created a body of work nearly unri- valed by any other vocal group. "Emperors of Soul" is a beautifully* packaged, lovingly assembled tes- tament to the group's particular and deep genius. t y, a 2*YJ ? \f l r ti t y a i tvZ , r t ' ^l'. k 3 l f:" ° of w 6y v T , 41 b w i f 1 #in L 3 r S 'A t : 3 CY .x efi <<# i : , $i t SfMfl' v:.. \ .. Zt oggg $;ya w : T : > $ S fffgfg q t w F) f > ' f°i r r v h E < S i &$ 33. E C n i 3" H r M Sb{ AA t fa t i vt \' C. wO z.aq .. ) l f ...c r niw",fi,_.° 3E Tih., ..2 :'iraa Y f%'.\wi\.,.\.' ffipT L .Y v .. . # a.: :,a. Yt ., r. ,; c" ;: ,:..,: r v'<.uu.-q .Mtt mk 5, ..a v ,, .<:. By Dirk Schulze Daily Arts Writer Just where and when rock 'n' roll began is a question that critics love to debate, arguing everything from Robert Johnson's "Terraplane Blues" to Chuck Berry, from the jump blues of Louis Jordan and His Tympany Five to Bill Haley and His Comets. Two recent collections on MCA Records make their claims not for specific artists or times but for specific labels. The two CD com- pilation, "Rock Around the Clock: The Decca Rock 'n' Roll Collec- tion" claims Decca Records as, if not its birthplace, at least the fertile soil in which it grew and developed. Meanwhile, the four CD collection, "Chess Rhythm & Roll," a sort-of companion piece to the recent "Chess Blues" set, wants it clear that it was from the Chess label that rock 'n' roll sprung. Regardless of the validity of either claim, both sets offer a wonderful chance to look anew upon original rhythm and blues and rock 'n' roll recordings. Of the two, "Chess Rhythm & Roll" is by far superior, not only for its ability to draw upon a more di- verse range of talent but also for its attention to detail and completeness. The Chess label sprang out of the Aristocrat Record Company, an- other Chicago label that recorded early efforts by the Five Blazes and Muddy Waters. The original own- ers sold the label to Leonard Chess in 1949 who used it to record local and national urban blues acts, gradu- ally becoming caught up in the phe- nomenal growth of rhythm and blues and its offspring, rock 'n' roll. The Chess set kicks off with the Five Blazes' "Chicago Boogie," a show- case for pianist Ernie Harper re- corded in 1947 and never released on an album. Four tracks later, it is 1951 and Jackie Brenston and His Delta Cats are romping through "Rocket 88." The tune features Ike Turner's piano banging and with its unstoppable beat and shouting vo- cal, it could easily make its own claim for the title of first rock 'n' roll single. Also included on the revelatory first disc is Danny Overbea's original ver- sion of "Train, Train, Train," one of the most frequently covered of early rock 'n' roll songs, along with the original single version of the El Rays' wonder- fully ragged "Darling I Know" and Bo Diddley's eponymous of the two, "Ches Rhythm & Roll's is by far superior, not only for its ability to draw upon a more diverse range of talent but also for its attention to detail and completeness. single which soared to No. I on the R&B charts in 1955. Most important, however, is Chuck Berry's revolution- ary "Maybellene." Reaching No. 1 on the R&B charts and No. 5 on the pop charts, the song sent a nation of mil- lions to the dance floor on the strength of its beat and quick guitar solos. If rock 'n' roll was still in the nest before the release of this single, Chuck Berry taught it to fly. Though it found tremendous suc- cess with Berry's sound, Chess was not willing to turn all of its resources into mimicking "Maybellene" ad nau- seam. Instead, the label used the money from the single to branch out further, recording artists from across the country, including Bobby Charles and his signature tune, "See You Later Bo Diddley, was it ever so pretty, a little bit of a Chess label master with his guitar, said to be named Lucille. Alligator." Disc two shows off this diversity with Bullmoose Jackson's "Heavyweight Baby," the Four Tops' burning (and previously unreleased) "Country Girl," Earl Hooker's solo guitar rocker "Frog Hop," Clarence "Frogman" Henry's raucous "Ain'tGot No Home" and Clifton Chenier's rock 'n' roll meets zydeco number, "The Big Wheel (Squeeze Box Shuffle)." The gems on disc three are un- countable. Chess continued to mine diverse talents, coming up with vocal numbers like the Monotones' "Book of Love," Eddie Fontaine's blistering "Nothin's Shakin' (But the Leaves on the Trees)," an early Smokey Robinson and the Miracles recording entitled "All I Want Is You" and Rusty York's rockabilly classic "Sugaree." One of the best tracks, the crackling "I Found My Girl," comes courtesy of the Kents, a band which disappeared with- out a trace after this recording. Chuck Berry continued his string of hits with "Johnny B. Goode" and "Let It Rock," on its way to becoming a hit before Berry was sentenced to prison, effec- tively ending his career for four years. He returned in the mid-'60s with "No Particular Place to Go," which appears on the fourth disc along with three wonderful Etta James' numbers and Bill & Will's funky "Goin' to the River." "Rock Around the Clock" is a decent collection of important singles on the Decca label but next to "Rhythm & Roll" it looks skimp y and inconclusive. While indispult- ably indispensable numbers like Rcy Hall's "Whole Lotta Shakin' Goiwi' On," Buddy Holly's "That'll Be tV Day" and Jackie Wilson's "Rest Petite" are included, the chronol- ogy is slightly skewed. While tl*, collection makes it clear that rock: 'n' roll depended as much upon othes- traditions as upon invention, includ- ing as it does both Louis Jordan's "Saturday Night Fish Fry" and Patsy Cline's "Stop, Look and Listen," it: does not truly show how the old and. borrowed combined with the new to. all mmm BROADWAY Continued from page 11 way ... 1992 Musical Theatre alum Hunter Foster is still in "Grease!" He's standing on his head on a huge billboard in Times Square. It's really an obnoxious production, but Foster is quite good as Roger (the mooner). Foster bares it all at the Eugene O'Neill - you can't miss the theater, it's painted shocking pink. form what is now called rock 'W roll. It may be wonderful to find the Crickets' original "I Fought the Law," but the Kalin Twins' "Whe' s is neither important to history nor. particularly interesting and its in clusion is a mystery. Both "Rhythm & Roll" and "Rock Around the Clock" are fasci- nating documents of two labels' early rock 'n' roll recordings but it is "Rhythm & Roll" that succeeds where the Decca Records set does not: It is both relevant and enter-* taming, historical and extremely lis tenable. reports were quite favorable, and. rightly so. Kirshenbaum's music i§, both accessible and catchy, but not without substance. Keep up the good work, David. Broadway needs some' new composers. BFA Theatre grad Tammy Jacob4 ('94) is currently in "Les Miserables" at the Imperial. Jacobs has quite a meaty chorus role and she's undert studying Eponine and Cosette. Jacobs breathes new Jife into the tired role of' Cosette; her Cosette is exciting, ex- ceedingly well-sung, and entirely het own. I've said it before and I'll say it again - you're going to be seeing a lot of the name Tammy Jacobs, per* haps sooner than you might expect, Another MT, Doug LaBreque ('88), is in that glorious production of "Showboat" at the George Gershwin; he's playing Steve to Lonette McKee's Julie. Composer David Kirshenbaum ('94) saw his cabaret show, "Bounc- ing Back," go up at Don't Tell Mama. The show had a successful run a few months ago at the Green Room, and this time around featured Susan Owen ('93) and Liz Richmond ('91). The A rs ?F . .. _, , .. ,, No rnatter what your place looks like - you can find a subletter! , m l Arhnv nhnnlc nisi' +ha 1 i¢t nn 9