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Otis Williams of The Temptations Shares His Perfect Motown Playlist
"What’s Going On" by Marvin Gaye I love everything Holland/Dozier/Holland
did. When I first heard "Baby, I Need Your Loving," it was very
effective—the melody, the pleading of the lyrics, and the way Levi would have that
little thing in his voice that made it sound convincing that he was
missing his girl.
"Where Did Our Love Go" was
first written for the Marvelettes, but they turned it down because they
thought it was too simplistic. Holland/Dozier/Holland took the track
to the Supremes and that was the catalyst for the Supremes to become
the world's most famous girl group. Eddie Kendricks and me had a running
bet about my next selection, "Come See About Me." Eddie Kendricks
bet me that ‘Come See About Me’ would not do as well as "Where Did Our
Love Go" and
I said it would and yes, it did. It was a smash!
I
love the dramatic sound in the beginning of the "What Becomes of the
Brokenhearted." It has such a grandioso beginning and a very haunting
kind of melody and the lyrics are so "on the one" and
Jimmy Ruffin really delivered the song with the right kind of pleading
in his vocals.
"This
Old Heart of Mine" reminds
me of a young lady that I was seeing back during the time this song
was released,, Christine Cooper. Whenever I would listen to this song
it made me think of that young lady Christine Cooper. It was a sentimental
feel for me.”
"Shotgun" was
a fun song. I remember being in D.C. and Junior Walker was on
the show with us and to see Junior do that song was a treat.
He would take his sax at the end of the song and pretend it was
a shotgun. Everywhere we would go people would shout ‘breakdown’ and
do the shotgun.
"Nine" was the first GRAMMY Award-winning
song for us. My friend Kenny Gamble and I were in New York and I heard
Sly and the Family Stone's "Dance to the Music." We stopped and
said, "That’s
different from what's on the radio." So Norman Whitfield and myself
were out in front of a nightclub in Detroit and I said, "Norman, have
you heard of this group Sly and the Family Stone?" and he replied "No."
I told him they had a sound we should try. We had recorded so many of these psychedelic soul songs and we didn’t want to go in and record "Papa Was a Rolling Stone." Our producer Norman Whitfield said "Trust me fellas, this song is a hit." So grudgingly we went in and recorded it. I remember we went to a disc jockey convention in Philly and just about every major label company booth we went into, they were playing "Papa Was a Rolling Stone." Now that is something.
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