WHAT IMPRESSED ME THIS WEEK (The Temptations Fill In the Blanks)


At the end of his first published “Record Guide,” which came out in 1981 and was devoted to the seventies, Robert Christgau added a list of his “essential” albums of the fifties and sixties. The lists were heavy on comps because, in Christgau’s words, “outside of the fab five–Beatles-Dylan-Stones-Who-Redding–great albums-as-albums were rare before 1967.”

When I first read that in the early eighties, I already knew it was a little hidebound not to at least include the Beach Boys and the Byrds. In the decades since, I’ve realized I would also, for starters, add James Brown, the Impressions, Elvis, Charlie Rich, the Everly Brothers. Once you get to that number, the whole concept of pretending great albums were the province of a benighted few in rock’s “rock and roll” phase, is pretty silly. Christgau was both parroting and shaping conventional wisdom so he was hardly alone in his assessment–he just had an unusually high profile. Effectively parroting and shaping conventional wisdom, i.e., telling us what we want to hear, is maybe one of the ways we collectively decide who gets to set the standards. For better and worse–and I can definitely see it both ways–nobody was more suited to standard setting than the Dean.

So, with that for a long-term back drop, this week (or rather, since I’m a day late posting this, last week), I was able to add the Temptations.

I found their first five LPs in a package on Amazon for fifteen bucks and decided even my budget could accommodate that. I certainly thought I’d add a few stellar tracks to the storehouse and I needed long time favorite The Temptations Sing Smokey on CD anyway.


So far I’ve only listened to the first three albums in the set (the fourth and fifth are a live album and The Temptations In a Mellow Mood, which is one of Motown’s supper club LPs). I’m sure I’ll like the others, but three is enough to set me straight on the old “Motown doesn’t do albums” canard. Thirty-six original tracks plus two bonus cuts and there’s nothing resembling a weak or pedestrian side. I mean, not everything can be this…


or this (my own favorite Tempts, with the quiet man, Paul Williams, out front)…

But the rest doesn’t ever fall much below something as semi-obscure as this…

or completely obscure as this…

And, as fine as any individual tracks may be, what’s really remarkable is that all of this “product,” despite the Smokey LP being the only one that is anyway thematic or even more than a grab bag, coheres beautifully.

That shouldn’t be really surprising. It’s not like Berry Gordy or Smokey Robinson (who wrote and/or produced most of the tracks on all three albums) were exactly devoid of the Vision Thing.

But what really struck me, listening to all three albums in succession, with about an equal mix of familiar-as-familiar-can-be and completely-new-to-me tracks, was how much some of the expansive vocal groups of the mid-sixties are still slighted as creative entities.

Let’s face it, even the critical love given the Beatles or Beach Boys or Byrds, is mostly rooted in their songwriting or some level of hip iconography.

But nothing was more important to rock’s exploding cultural and musical reach in the mid-sixties than the incredible expansion of the great vocal traditions, an expansion which repeatedly reached limits that have not been challenged in the five decades since. And it’s obvious on these three LPs that the Temptations, along with the Impressions, were changing and challenging the black gospel and doo wop traditions just as radically and thrillingly as the Beatles and Beach Boys were the pop tradition, the Byrds and the Mamas and the Papas were the folk tradition and the Four Seasons were the bel canto and white doo wop traditions.

Sorry, but that’s as “creative” as anything that was happening on Highway 61 Revisited or Happy Jack.

Of course, the received point of singing this good is that it sounds so easy and natural it couldn’t possibly have anything like a thought process behind it. I mean, after all, you can’t even copyright it, can you?

Too bad. Because, believe me, every one of these sounds is built from years of sweat. And every one of them is something no one could ever steal.



2 thoughts on “WHAT IMPRESSED ME THIS WEEK (The Temptations Fill In the Blanks)


    Bravo! (Again.) First, I have jested for decades that the entirety of the canon of great Rock-with-a-capitol-R (my coinage for the records of 1965-69, thank you very much) albums was forced on us by a bunch of white-guys-who-didn’t-play-sports-and-didn’t-date-girls-in-high-school-but-had-the-coolest-record-collections (lots of us) and then carried that on into college and beyond! It was how they left their mark.

    Second, Christgau’s dismissal of the ’60s albums soured me on him forever. And he didn’t even bother with listing the great LPs of the ’50s and pre-Beatles ’60s! His first book was arguably the beginning of the end of my faith in the initial Crawdaddy/Rolling Stone (and often great) rockwriters as serious arbiters of taste.

    Third, the first three Temps albums are indeed fabulous! While THE TEMPTATIONS SING SMOKEYS will always be my faveravest of their albums, the first album was recorded before Gordy’s obsession with a perceived (white-pop-influenced) perfection and it is among the grittiest of all Motown albums and may be their best.

    Yada yoda blah bleh . . .


    PS: Refusing to include greatest hits and other compilations among the great albums was almost an act of racism. Plus, who in their right minds thought that the MC5 and Stooges albums were better than SMOKEY ROBINSON & THE MIRACLES GREATEST HITS VOL. 2 or PAUL REVERE & THE RAIDERS GREATEST HITS?

  2. Well, to be fair to Christgau (and Marcus, et al), he did include comps on his list, though I could see early on he and I had some differences in opinion, there and elsewhere, that had me scratching my head. And leaving From Elvis in Memphis off his sixties’ list certainly left me predisposed to question his authority ever after! But the racial effect you mention was very real, too. Having been born just a little too late, those crit-lists were a big guideline for me and it always seemed they would sum up the black artists with a single record (usually a comp) which implied they were cool and all, but they weren’t capable of much vision or growth, which was/is, of course, ridiculous, not to mention short-sighted (and, yeah, probably racist).

    Agree completely with your take on the average rock-crit mentality being shaped in too many (usually elite) college dorms. That was a running theme in the early days of the blog but I stopped pounding on it because I try not to sound like a broken record and I know they ain’t listening anyway! I mean, forty years of collecting this stuff and I’m still finding stuff somebody REALLY should have told me about…makes me darn resentful sometimes. (lol)

    And while I can’t exactly fault Berry Gordy for his musical taste or marketing decisions, that first Tempts album does represent a road not taken that suddenly has me asking “Gee, is is possible they could have been EVEN GREATER?”

    Ah well, ours not to reason why…


Leave a Reply

Your email address will not be published. Required fields are marked *

This site uses Akismet to reduce spam. Learn how your comment data is processed.