Dr. Otis Williams knows how to make an entrance, even over the phone. His penchant for punctuality takes a break as he delays his interview’s start time “four or five heartbeats” to perform a quick tech-check.
Derrick Holmes, the interview facilitator, Colorado-based entrepreneur and Williams’ associate, explains both the delay and that the singer is prone to zippy, musically-themed metaphoric lines.
When the voice of The Temptations’ legendary founder returns to the line, he notes, “It’s been about 20 heartbeats already.”
In the same way that his affection for pithy aphorisms holds firm, it’s apparent that his passions for music and his R&B and soul singing group also endure.
Meet the Temptations (1964)
The Temptations’ story is almost as fabled as their music.
A 1998 NBC miniseries broadcasts the dizzying drama surrounding the group, revealing equal parts tragedy and triumph. In 1991, “The Five Heartbeats” drew inspiration from their story, with director Robert Townsend admitting that the film was loosely based on the group’s ups and downs.
More recently, the Broadway musical, Ain’t Too Proud: The Life and Times of the Temptations, showcased their legacy, winning the 2019 Tony Award for Best Choreography.
Now, six decades after the group’s first appearance on Billboard’s Hot 100 in May 1965, the trade magazine recently announced that the breakout song surpassed one billion streams on Spotify.
On May 1, Williams made an appearance on “The Jennifer Hudson Show,” celebrating the 60th anniversary of the song. He acknowledged God for blessings ranging from waking up each morning to the enduring impact of Motown and its ability to unite disparate cultures across generations.
“Over one billion streams because of you all,” he smiled, pointing into the audience.
Gettin’ Ready (1966)
Despite their meager beginnings, The Temptations are inductees in the Rock and Roll Hall of Fame, in addition to being Grammy Lifetime Achievement Awardees whose iconic sound is memorialized on the Hollywood Walk of Fame.
Despite his calm, cool demeanor, much of The Temptations’ success can be attributed to Williams’ fastidious leadership style.
It was Willliams who supported, counseled, bolstered, encouraged, cheered and cajoled the group at the height of its success. His attention to detail and exactness laid the foundation, while Smokey Robinson’s composition and David Ruffin’s lead vocals propelled “My Girl” into ubiquity.
In the 1960’s Detroit was brimming with aspiring artists who possessed comparable qualities; but without Williams’ inflexible determination and the professional guidance provided by Motown Records, the other hopefuls were unable to match the flair, finesse and talent of The Temptations.
Sky’s The Limit (1971)
Williams set his artistic sights on secular success, but he was rooted in the spiritual grounding passed on by his grandmothers during his early years in Texarkana, Texas, before relocating to Detroit to live with his mother and stepfather.
“I’m very spiritual,” he explains.
Armed with his grandmothers’ spiritual convictions and his own ambitions, he arrived at a pivotal place at the perfect time.
Known as “Motor City” due to its dominance in the automotive industry, Berry Gordy’s influence and team of budding stars added another dimension to the midwest city.
The opening of “The Temptations’” two-episode series captures the moment and the mood: “This is Detroit, right around 1958. And that was me right there – Otis Williams. 17 years and about to burst,” he narrates.
Audiences watch as his younger self rushes to the Fox Theater, where The Coasters, The Cadillacs, The Chantels, Clyde McPhatter and Ruth Brown appear on the marquee.
“Back then there were mainly two choices for a young man like me – the assembly line or music. I know now that I was destined for the latter. What I didn’t know was that I was living in the city soon to be known to the world as the ‘Birthplace of Motown Records.’ I remember it like yesterday, the exact moment that singing became the most important thing in my life.”
Initially, Williams recruited Melvin Franklin, referred to as “quite possibly the best bass singer of all time,” by John Oates of the rock duo Hall and Oates, at the The Temptations’ 1989 hall of fame induction ceremony.
Veteran journalist Gerri Hirshey called Williams and Franklin the “heart and brains” of The Temptations. When told of Hirshey’s assessment, Williams agreed, replying that they stood “shoulder to shoulder.”
Next, Williams recruited Elbridge “Al” Bryant, and when a rival group – the Primes – disbanded, Eddie Kendricks and Paul Williams joined the ranks. Prior to being recognized as The Temptations, the group performed as The Elgins.
Kendricks would provide lead vocals on many songs, while Williams, also a fine singer, became recognized for his choreography innovations. A few years later, David Ruffin replaced Bryant, completing the group’s halcyon composition.
What they needed next was a new name and an audition at Motown. According to the miniseries, they received both in March of 1961. The series depicts their decision to adopt “The Temptations” because “it’s got to be something forbidden, something that everyone wants but no one can have. It’s got to be something sexy.”
The Temptin’ Temptations (1965)
When a singing group couldn’t score a hit, other companies would “drop you like a bad habit,” declares Williams. He credits Gordy and Motown for their patience and tutelage to outlast The Temptations’ early dry spells, saying “Barry believed in us.”
Motown groomed artists for stardom, investing time, resources and money to secure success. The company transformed talent from being merely impressive to inimitable.
Maurice King guided novices through the intricacies of vocal phrasing and delivery, while Cholly Atkins elevated their street game, coaching them through choreography with strict attention, timing and rigor. Smokey Robinson provided the melodies, expressions and studio expertise, while James Jamerson and the Funk Brothers provided the ready and righteous backdrop.
Motown’s golden era is often described as resembling an assembly line. According to Road and Track, Gordy’s approach can be attributed to his previous work on an assembly line at the Lincoln-Mercury plant, even instituting what he called “Quality Control.”
The process included artists as the cogs in a wheel, which helped the “hit factory” churn out hit after hit. The intensive training set Motown artists apart from their competition on the Black charts. They were prepped for crossover appeal during segregation, and their carefully executed superstardom facilitated the cultural backlash that eventually allowed The Temptations to take the global stage.
After a few years, Motown’s investment paid off.
“The Way You Do the Things You Do” hit No. 11 on Billboard’s Hot 100 in April 1964, and in the following year “My Girl” reached the chart’s premier position on March 6, becoming the first of four No. 1 smashes.
The Temptations followed with 15 Top 10 Billboard Hot 100 entries; charting a career total of 53 times, to date.
Puzzle People (1969)
As seen in examples of stardom throughout the history of the entertainment industry, success doesn’t guarantee smooth sailing.
While Ruffin and Kendricks typically assumed lead vocals, Williams was often forced to keep the ship sailing – and at times, upright – as ego, drugs and alcohol use threatened to capsize the group altogether.
Ruffin was the first to bail or, more precisely, to be fired in 1968, due to his drug consumption and other maladaptive behavior. Dennis Edwards replaced him, though it was a Herculean hurdle to bridge the gap created by his departure.
Paul Williams struggled with alcohol addiction and health problems, which forced an early retirement from the group. He later died by gunshot in 1973. At only 34 years old, suicide was listed as the cause of his death, though some suspect foul play.
Kendricks jumped ship in 1973, pursuing a solo career until he succumbed to lung cancer in 1995. Both he and Ruffan returned for limited engagements with The Temptations over the years, but were mainly absent from the group decades before their deaths.
While Franklin endured as a Temptation throughout his career, he suffered heart failure and passed away in 1995.
Williams is the sole/soul survivor of the original Temptations.
“I’m the only one still here,” he muses. The bedrock who steered the ship through successes and storms alike, survives.
He told the London daily newspaper, The Times, “I called myself the Henry Kissinger of the group.”
Solid Rock (1972)
The tragedy, grit and grime of The Temptations journey cannot obscure the glory of its golden days.
When the group released a barrage of classics like “Ain’t Too Proud to Beg,” “I Wish It Would Rain,” “Papa Was a Rollin’ Stone,” “Just My Imagination,” “Psychedelic Shack” and a seemingly endless parade of others, they achieved a surreal and mythical glamour – even otherworldly.
Their appeal wasn’t limited to recording alone; their performances onscreen and onstage were even more alluring.
“In their prime no one could work a crowd like the Tempts,” wrote Gerri Hirshey in her essential study of soul music, “Nowhere to Run.”
“No one dressed as well; no set of voices could match their full-court give-and-go. And surely no one could outdance them. Even gravity was just a pissant nuisance to the Tempts.”
Today, Williams looks back on the former years with nostalgic affection and gratitude.
Once, a Vietnam veteran shared the relief and joy he received from Motown music during periods of despair and destruction. Williams says that the admission brought him to tears. He considers Motown’s ability to bring a measure of tranquility to the 1960s – what he calls a “tumultuous time.”
However, his gratitude and affection isn’t limited to years passed. The current lineup of Temptations tours nonstop, with Williams still guiding the group.
“It’s huge to see how many people have come to know and love The Temptations,” he enthuses. “We do great business.”
He relays the secret to The Temptations’ longevity and his continuous stewardship, sharing words of advice he was given long ago.
“Maurice King said if you carry yourself right, you can keep a good audience from now on.”
Still Here (2010)
While The Temptations’ reach is global, their local connection hits close to home. Gaining traction as a hub for its diverse live music scene, Colorado boasts a deep appreciation for historic and contemporary musical influence, including the soulful sound of the Motown supergroup.
The CEO of Banneker Watches has enjoyed both a personal and professional relationship with Williams for years, with the only surviving Temptation serving as an ambassador of his company. A photo on the Banneker website shows Williams, Holmes and the cast of Ain’t Too Proud on Broadway, sporting the sophisticated timepieces.
Further, Williams and Holmes recorded and released a song in 2016, titled “Ready for Love.”
While not personally connected, The Temptations served as an emotional anchor for another Coloradoan, lifelong fan Marlene Romero, who traveled hundreds of miles from the centrally-located town of Salida to attend the group’s most recent appearance at Denver’s Paramount Theater.
For many, The Temptations’ music has served as a buoy and a booster during rough roads, tragedy and heartache. After her mother passed after a lengthy illness in 1990, Romero found solace in their magic.
“One day I searched through our cassette box and found The Temptations,” she says.
“As I was washing dishes the song, ‘I Wish It Would Rain,’ started. I danced my way into the living room and turned up the volume. I realized that this is the first song that made me want to dance since the loss of my mother.”
Williams doesn’t take the power of The Temptations’ artistic resonance lightly. He believes that the mission and music coming out of the two-story building at 2468 West Grand Boulevard in Detroit 60 years ago was divinely inspired.
“That was God,” he states emphatically. “That was on purpose.”
Now, six decades after their first No. 1 hit, he adds, “That music that came out of Motown will outlast us all.”
