It can be said that the most successful black vocal group was the Temptations. It's sure the Temps, disciplined by Motown and slim and tall in stature, were splendid for their efficiency as well as their charm, but I think there was one thing they stood alone among other groups: the fact that they got through with the transition from 1950s' simple doo-wap chorus to complicated and sometimes experimental or artifical chorus arrangements of the '60s and '70s and that they kept delivering a series of fresh surprises to the audience. You can assure yourself of such changes on their bests "Anthology" or "The Ultimate Collection" as you follow their history. During the personnel changes of lead tenors, Melvin Franklin was one bass vocalist who held the group over 30 years with Otis Williams, still a member in the 21st century.
You can hear Ol' Man River in "The Temptations Live !" containing his solo and you may find the audience exclaiming at the moment he sings the melody. As you realize their feeling, his smooth and resonant low voice is supreme, like a carpet with a comfortable touch at your feet. Under the production of Smokey Robinson, Melvin was eminent for responding to the sweet calling of lead tenors, husky David Ruffin or falsetto Eddie Kendricks, in Since I Lost My Baby or Get Ready. When Norman Whitfield took the producer's seat, however, Melvin often devoted himself to supporting David Ruffin's dramatic singings.
In 1968 David Ruffin went solo and one person changed the Temps' fate seriously; he was Sly Stone. The world of Sly & The Family Stone spreading on "Greatest Hits" can be said to be a fusion, a kind of "Love & Peace and Psychedelic meet Doo-wap". I'm convinced in my own way that Sly's ideas, that is, dialogues of each lead vocal rather than harmonies of chorus, considerably affected Norman Whitfield's producing. Compared with Sly's simpler and rougher band sounds, The Temps began singing accompanied with more complex and processed studio sounds. That was where Melvin Franklin increased the amount of his appearance and existance. The Temps at first remind me of the simple and sweet melody of My Girl : I knew My Girl for the first time on a TV commercial, and then I confirmed my first impression when I listened to the live of Daryl Hall & John Oates with Temps David Ruffin & Eddie Kendricks, "Live at the Apollo". One day, however, when I first listened to Cloud Nine in a Motown best borrowed from a library, I found myself surprised and felt "They are kind of forced to do it". In spite of it, now I listen to it again and find it a very challenging and well-produced tune for a hit-making orthodox vocal group.
"Psychedelic Shack & All Directions", a 2-in-1 CD compiling the album of psychedelic era and of funky era, Melvin Franklin's voice is featured in broader ways, from in a pleasant use to a poisoned use, from in cool rapping to rhythm-box-like voicing. I feel War, the original of Edwin Starr's tune, remain in the ears with an over-produced arrangement rather than the lyrics' message. Papa Was a Rollin' Stone is, it seems to me, the most balanced tune for them to fill up both of their artistic and message-minded intentions. The Temps of from the late '60s to the early '70s strangely intermingled together with messages of songs and serving-spirits which were apt to be regarded as 'Uncle Tom', and they released odd cuts on the one hand and brilliant ones on the other. In these tunes a singing bass, essentially modest, could be active because the raw voice of Melvin Franklin was totally attractive. (2004/11/20)(2006/04/09)