Chapter 17: Soul, Motown, and Stax
The Temptations
If The Supremes were Motown’s flagship girl group, then The Temptations held the same distinction among the label’s male ensembles. Emerging from Detroit in 1961, The Temptations brought a smooth, tightly harmonized vocal style rooted in the doo-wop tradition, paired with exceptional precision in their choreography, including signature routines like the “Temptation Walk.”
The group was formed when Eddie Kendricks (1939–1992) and Paul Williams (1939–1973), formerly of the Primes, joined forces with Melvin Franklin (1942–1995), Otis Williams (b. 1941), and Elbridge “Al” Bryant of the Distants. Signed to Motown under its Gordy Records subsidiary, they initially recorded under the name The Elgins before Berry Gordy quickly renamed them The Temptations. Between 1962 and 1994, the group released an astounding 82 singles on the American R&B charts, with 52 crossing over to the pop charts.
In 1963, David Ruffin replaced Bryant, completing what is widely considered the group’s “classic” lineup. Ruffin’s gritty, emotive baritone added dramatic weight to the group’s sound, balancing Kendricks’s airy falsetto and Franklin’s resonant bass. This vocal blend became a hallmark of their style and was expertly developed by producer Smokey Robinson.
One of the group’s most enduring hits, “My Girl” (1965), exemplifies the refined craftsmanship of Motown’s production and songwriting teams. The song opens with one of the most recognizable instrumental hooks in popular music—a melodic line played in unison by the bass and guitar, supported by a subtle yet steady groove from the drums. This introductory riff acts as a recurring motif, anchoring the song’s structure and drawing listeners in from the first measure.
The arrangement showcases a classic Motown production technique: layering textures gradually to build emotional momentum. Ruffin delivers the lead vocal with warmth and conviction, supported by lush background harmonies and understated string and horn accompaniments. Midway through the track, a half-step key modulation—a trademark of many Motown hits—elevates the song’s emotional impact and keeps the momentum rising into the final verses. Altogether, “My Girl” reflects the essential qualities of the Motown sound: memorable hooks, melodic bass lines, strong lead vocals, and carefully arranged instrumentation,
The Four Tops
Formed in Detroit, the Four Tops—Levi Stubbs, Abdul “Duke” Fakir, Renaldo “Obie” Benson, and Lawrence Payton—began their career as the Four Aims, performing jazz-influenced harmonies shaped by vocal groups such as the Hi-Los and the Four Freshmen. After signing with Motown, they became known for a vocal sound that combined a baritone lead with three-part background harmony. This structure differed from many other male groups at the time, which often used a tenor or falsetto lead.
Their rise in the mid-1960s was closely tied to the songwriting and production of Holland-Dozier-Holland (HDH). The team crafted a series of songs that emphasized rhythmic propulsion, melodic clarity, and emotional contrast. Stubbs’s vocal approach leaned into dramatic phrasing and dynamic variation, often resembling a preacher or stage actor in tone and delivery. The background vocals, tightly arranged by the group members themselves, supported the lead with repeated refrains, call-and-response figures, and sustained harmonies.
Tracks such as “Baby, I Need Your Loving” (1964), “I Can’t Help Myself (Sugar Pie Honey Bunch)” (1965), and “It’s the Same Old Song” (1965) were structured around repetitive hooks, modulation, and driving bass lines played by James Jamerson. The rhythmic foundation often combined a steady pulse with syncopated accents in the percussion and piano, creating momentum without relying heavily on backbeats.
“Reach Out I’ll Be There” (1966) featured expanded instrumentation, including oboes, flutes, and Afro-Cuban percussion. Its structure included a minor verse and a contrasting major chorus, shifting mood and register to highlight changes in lyrical content. This contrast reflected a tendency in their music to use arrangement as a tool for narrative pacing.
Even after the departure of HDH in 1968, the Four Tops continued to record and perform. Their live shows maintained the group’s emphasis on vocal coordination and rhythmic tightness, often adapting their studio recordings for stage settings with extended vamps and breakdowns.
Gladys Knight and the Pips
Gladys (Maria) Knight, born in Atlanta, Georgia, on May 28, 1944, led the renowned rhythm-and-blues group Gladys Knight and the Pips. A child prodigy, Knight first gained recognition by winning a televised talent contest on The Original Amateur Hourhosted by Ted Mack in 1952. That same year, the Pips formed as a family ensemble, consisting of siblings and cousins backing Knight. From 1958 through 1965, the group moved swiftly among various independent record labels, including Brunswick, Vee-Jay, Fury, and Maxx. They achieved their first commercial breakthrough in 1961 with the song “Every Beat of My Heart.” Unusually, this single was released twice—first on Vee-Jay and then again on Fury—and both versions charted simultaneously on the national music charts.
In 1965, Gladys Knight and the Pips signed with Motown Records and were assigned to its Soul subsidiary label. After a slow start, they scored a rhythm-and-blues hit in the summer of 1967 with “Everybody Needs Love,” marking their initial collaboration with influential producer and songwriter Norman Whitfield. The group’s 1967 release “I Heard It Through the Grapevine” became arguably their most significant Motown hit of the decade. Additional successful singles during their Motown years included “If I Were Your Woman” (1970) and “Neither One of Us (Wants to Be the First to Say Goodbye)” (1973). Over their time with the Soul label, they released fifteen songs that reached the top 20 of the Billboard R&B charts.
In early 1973, the group transitioned to New York-based Buddah Records, where they enjoyed even greater commercial success than during their Motown tenure. Their album Imagination (1973) featured major hits such as “Midnight Train to Georgia,” “I’ve Got to Use My Imagination,” and “Best Thing That Ever Happened to Me,” all of which climbed high on both pop and R&B charts. The Pips officially ended their recording career in 1988, though Gladys Knight has continued to perform and record as a solo artist.