The Temptations Albums (47)
What The Critics Say
No vocal group is better qualified to pay tribute to R&B's golden era than the Temptations, who do exactly that on Back to Front (an album containing mostly covers of soul classics from the '60s and '70s). Some soul connoisseurs will question whether or not the 2007 lineup heard on Back to Front should even be called the Temptations; Otis Williams is the only remaining original member, and the other participants include 1983 arrival Ron Tyson and three singers who didn't come on board until the '90s (Terry Weeks) or 2000s (Bruce Williamson and Joe Herndon). But then, lineup changes are nothing new for the Temptations, who had plenty of them during their '60s and '70s heyday -- and the important thing to remember about Back to Front is that the disc is quite faithful to the spirit of the pre-'80s Temptations even though Williams is the only one who was actually part of the group before the '80s. The Temptations, of course, were synonymous with the Motown sound back in the day, but Back to Front celebrates classic soul outside of Motown with enthusiastic covers of gems ranging from Barry White's "Never, Never Gonna Give You Up" and the Emotions' "Don't Ask My Neighbors" to L.T.D.'s hits "(Every Time I Turn Around) Back in Love Again" and "Love Ballad." The Temptations of 2007 pay tribute to Stax Records (Motown's most important competitor in the '60s) on Sam & Dave's "Hold On! I'm Comin'" and the Staple Singers' "Respect Yourself," and they acknowledge the Philadelphia International/Gamble & Huff sound on Harold Melvin & the Blue Notes' "Wake Up Everybody." Back to Front is not in a class with the Temptations' most essential '60s and '70s recordings, but it is an enjoyably satisfying tribute to R&B's pre-urban contemporary, pre-hip-hop era. ~ Alex Henderson, All Music Guide
What The Critics Say
Prior to being reissued in a limited-edition run of 5,000 copies by Hip-O Select, the Temptations' In Japan (1973) was only available as an import title. The performance was recorded while the vocal quintet were touring in support of their Masterpiece (1972) long-player. The lineup included Dennis Edwards, Richard Street, Damon Harris, Melvin Franklin and Otis Williams. Collectively, they resuscitated the combo in the wake of both Eddie Kendricks' and Paul Williams' departures. The updated incarnation made a significant name for themselves with the chart-topper "Papa Was a Rollin' Stone." Despite the Temptations' sizable classic-'60s soul catalog, they draw heavily from Masterpiece, playing half of the album as well as a healthy sampling from their previous effort All Directions (1972) -- most notably a nearly eight-minute reading of the aforementioned "Papa Was a Rollin' Stone"." Not surprisingly, the strongest sides are the newer selections. The set kicks off with an edgy and funky rendition of "Plastic Man" from Masterpiece, which is likewise the source for the slow jam ballad "Hey Girl (I Like Your Style)." The Temptations' reworking of "The First Time (Every I Saw Your Face)" is another outstanding and affective love song, highlighting their impeccable harmonies. Predictably, they dip into their vintage repertoire for an up-tempo and rousing "I Can't Get Next to You," and an arguably rote medley featuring "Get Ready," "My Girl" and "The Way You Do the Things You Do." Conversely, the sweet and sincere "Just My Imagination (Running Away With Me)" and the suitably climactic "Papa Was a Rollin' Stone" conclude the show, underscored by the tight Motown horn section as they wail on what is nothing short of a definitive version of the latter. Longtime enthusiasts will want to add In Japan to their library, especially as it is the sole concert platter with this early-'70s personnel. ~ Lindsay Planer, All Music Guide
What The Critics Say
As the Otis Williams-fronted Temptations learned with Ear-Resistible, the group's surprisingly successful album from a year earlier, it's best to play it safe and stay true to the times. And that's precisely what Williams does on Awesome, an album that models itself after Ear-Resistible. There are mostly ballads here and some innocent concessions to the hip-hop audience. Overall, though, this is the Temptations sounding like the Temptations, albeit a tender yet resilient Temptations. There aren't any "Papa Was a Rolling Stone"s here and there aren't any "Cloud Nine"s, just sappy, utopian love songs and some extra-lite music lingering safely in the background. This is how sequels should sound -- modestly like their predecessors. However, the modest sense of submission makes Awesome less rewarding than Ear-Resistible. There are few surprises, and the few surprises you do encounter are more calculated than inspired -- the calling card of a, perhaps unfortunately, content veteran act. ~ Jason Birchmeier, All Music Guide
What The Critics Say
Ear-Resistible marks the 57th album for R&B/pop's most popular and star-crossed groups. Although many people may still have an image of one particular Temptations lineup, the 1964-1968 group, the group has persevered over everything from exiting members to label indifference. Their 1997 CD Phoenix Rising was their first CD to ever go platinum. But the effort found the group playing it too safe. With Ear-Resistible the group turns in its strongest set since 1984's Truly for You. The first song, "I'm Here," produced by R&B crooner Joe sets the stage for an infinitely likeable album. With a dramatic arrangement and confident vocals, led by smooth tenor Terry Weeks, it's a mix of a timely production well rooted in the mechanics of classic R&B male group singing. Songs like "Your Love" and "Selfish Reasons" are in the same neo-classic, back to the future vein. But what makes Ear-Resistible is a trio of skillfully arranged ballads that pit Ron Tyson's starry-eyed falsetto to Barrington Henderson's raspy tenor. From the sensual "Kiss Me Like You Miss Me" to the adultery/late-night sneaking lyrics of "It's Alright to Be Wrong," the group effortlessly trades leads all the while creating intricate harmonies. The CD's best track, the Gerald Levert-produced "Proven and True" is a steady and sure ballad that plays on the chemistry between Tyson and Henderson. Co-executive produced by Kedar Massenburg and Otis Williams, Ear-Resistible proves that you don't need rap cameos or expletives to make a great R&B album. ~ Jason Elias, All Music Guide
What The Critics Say
Three years after the brilliant For Lovers Only and two personnel changes, the Temptations dished out Phoenix Rising. Ali "Ollie" Woodson and Theo Peoples were replaced by Harry McGilberry and Barrington Scott Henderson. The album gets off to an excellent start with "Stay," a lilting, mid-tempo mood setter that samples the opening riffs of "My Girl"; the red-light special became their highest charting single in years. "How Could He Hurt You" is one of those good, questioning ballads that always finds a way into your heart. These new Temptations are all right, but none are comparable to the squalling Temptations' tenors of the past. Voices reaching the magnitude of David Ruffin's, Dennis Edwards', Ali Woodson's and Richard Street's are sorely missed. Otis Williams seems to have found his niche doing interludes between songs; it would be interesting to see if they would incorporate Williams' eloquent love talks into their stage act. Ron Tyson sings effortlessly in a honey-laden falsetto on "Tempt Me," which, other than "Stay," is the most arresting number here. Tyson displays his natural tenor before sliding into a sky-high falsetto, the backing voices are a thing of beauty as they weave in, out, and around Tyson's deft delivery, and the bass dots in and out placing exclamation points everywhere. "If I Give You My Heart" features a Williams rap and has a pop-ish beat; the tenor tries to cut loose but may have been restrained by producer Narada Michael Walden. When listening to "Take Me in Your Arms" it helps to imagine Ruffin, Edwards, or Woodson on lead. The mid-tempo songs, for the most part, outshine the ballads. "That's What Friends Are For" (not the Dionne Warwick song) has a deft, stepping beat but changes tempos on the chorus and becomes annoying until it gets back to that "Da, Da, Da" beat. The baritone voice on an occasional lead is sorely missed. Temptations' albums used to feature a baritone voice distinct from the tenor not only in register, but in style and phrasing; here the voices are too similar. Still, not a bad silver platter when you take the personnel changes into consideration. ~ Andrew Hamilton, All Music Guide
What The Critics Say
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. The main shortcoming of this record is that the lead singers for the particular songs aren't listed in the CD Booklet; this is essential information, since the group has gone through so many changes. Richard Perry outdid himself with this production, he expertly captured the essence of the Temptations, regardless of the members, in these songs. Their signature vocal blend is emphasized at every turn, and why not, it's what brought throngs of fans into their fold in the first place. He didn't concentrate on one lead singer, like others have in the past. The Temptations were initially marketed as a group of five capable lead singers and that's what you get with this excellent collection. Credit also goes to Jimmy Varner who assisted in the production, all the vocals and arrangements were done by the Temptations. I hope we don't have to wait another 11 years. ~ Andrew Hamilton, All Music Guide
What The Critics Say
Reunion is a very good Temptations album that could have been great. Kenny Gamble and Leon Huff were originally rumored to produce this reunion of Eddie Kendricks and David Ruffin with the current crop of Temptations. However, the two sides couldn't get the deal done. So Motown rationed out the production assignments to in-house producers, Rick James, Smokey Robinson, and others. Seven voices sang on these tracks besides Kendricks and Ruffin; they were: Dennis Edwards, Glen Leonard, Richard Street, Melvin Franklin, and Otis Williams -- a mini-choir. Considering the voices on hand, they should have spread the leads around. Of the seven tracks, Dennis Edwards sings six and David Ruffin one, the very ordinary "You Better Beware," twritten by money man Barrett Strong. Ruffin's vocal sounds rough and appears to strain trying to reach some notes. Punk-funker Rick James' epic "Standing On the Top" production is the most popular track here, with its dead-on beat, blaring horns, and multiple voices; Rick James himself joins the Tempts on this festive song. Kendricks' bluesy falsetto lines on the fade are like cherries topping a sundae. Relishing the opportunity to produce Dennis Edwards, Smokey writes two beauties for the churchy belter: the introspective, engaging "Backstage" and the understated "More On the Inside," the second release from this set. Kerry Gordy, one of Berry Gordy sons, co-wrote two in-your-face cold-blooded stompers, the so-true "Money Hards to Get" and the frantic "Lock It In the Pocket," both excellent and both left for dead on the album. Edwards displays his balladry ability on a stunning rendition of "I've Never Been to Me" originally done by Charlene. Not a bad album, but the product doesn't equal the sum of the voices and producers. Why wasn't Eddie Kendricks given a lead? Or Richard Street and the Kendricks-sounding Glen Leonard? Fans would have loved to hear the two falsettos featured on a song, or Kendricks and Ruffin co-leading as they did on "You're My Everything" and the lesser-known but just as brilliant "Born to Love," from The Temptin' Temptations. While we're playin', a gospel jam would have been a rip-snortin' inclusion (or conclusion); with seven voices, the results would have been breathtaking. ~ Andrew Hamilton, All Music Guide
What The Critics Say
One of the most forgettable records in The Temptations' long and illustrious history. The personnel was unsettled, and seldom has the group ever issued an album with absolutely nothing having a remote shot at being a hit. Ollie Woodson didn't make anyone forget the group's legacy of great lead vocalists. ~ Ron Wynn, All Music Guide
What The Critics Say
The album that preceded this one (Back to Basics) introduced the group's new falsetto lead, Ron Tyson, who is also a remarkable tenor. To fill the departure of Dennis Edwards, this release introduces the electrifying vocals of Ali Ollie Woodson. As talented, competitive and competent as Edwards is, Woodson's sound is not only refreshing to fans of the Tempts, but to the music industry overall. The smash hit on this release was "Treat Her Like a Lady," a soulful, dance composition that entails some dazzling backgrounds led by Woodson's fiery approach to the melody and the ligthnening squeal of his trademark falsetto. The single was treated very well by the Billboard R&B charts, peaking at number two for two consecutive weeks after 21 thriving weeks. The title track, "Truly for You," retains much of that Temptations magic with its affectionate harp-like guitar rhythms, a romantic confession conveyed in a sincere tone and Ron Tyson's agile, flowing vocals that express the lyrics with honesty and grace. The single made its mark at number 14 on the Billboard R&B charts inside of 13 weeks. ~ Craig Lytle, All Music Guide
What The Critics Say
Although it contained the super "Lady Soul," this was still far from a good Temptations album. It had uneven material, some poorly produced uptempo tunes, and some of the least distinguished harmonies and leads ever heard on a Temptations LP. Fortunately, it also had the title track and "Someone," decent enough songs to keep it from being a complete flop. ~ Ron Wynn, All Music Guide
