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| The Temptations Revue | |
|---|---|
| Name | The Temptations Revue |
| Background | group_or_band |
| Origin | Detroit, Michigan |
| Genres | Soul, R&B, Motown sound |
| Years active | 1960s–present |
| Labels | Motown |
| Associated acts | Smokey Robinson, Marvin Gaye, Stevie Wonder, Diana Ross, The Supremes, Four Tops, Gladys Knight and the Pips, Smokey Robinson and the Miracles |
The Temptations Revue is a concert and recording persona associated with the Motown vocal group formed in Detroit, Michigan during the 1960s that showcased ensemble choreography, multi-part harmonies, and lead vocal showcases alternating among members. Emerging from the same Motown ecosystem that produced Stevie Wonder, Marvin Gaye, and Diana Ross, the revue format toured major venues and television programs, appearing alongside acts such as The Supremes, Four Tops, and Gladys Knight and the Pips. The ensemble contributed to the defining sound of soul music, influencing later performers and being featured in events from Newport Jazz Festival-adjacent showcases to television specials on The Ed Sullivan Show and American Bandstand.
The revue concept developed amid the rise of Motown Records and the creative direction of producers linked to Berry Gordy Jr., Smokey Robinson, and Norman Whitfield. Early engagements connected the group to packages promoted by agencies that also booked James Brown, Sam Cooke, Ray Charles, Otis Redding, and Etta James for integrated tours. Through the 1960s and 1970s the revue shared billing with roster mates including Diana Ross and the Supremes, The Four Tops, and solo headliners like Stevie Wonder and Marvin Gaye, while performing at venues such as Royal Albert Hall, Madison Square Garden, and the Hollywood Bowl. Management decisions intersected with industry events like the expansion of Atlantic Records competition and the evolution of the Billboard Hot 100, influencing touring patterns and television appearances on programs like Soul Train, The Tonight Show, and The Mike Douglas Show.
The revue featured rotating lead singers and background vocalists drawn from lineups that included performers associated with David Ruffin, Eddie Kendricks, Paul Williams, Otis Williams, Melvin Franklin, Dennis Edwards, Richard Street, Ali-Ollie Woodson, Theo Peoples, Ron Tyson, and Keenan Weaver. Lineup changes often corresponded with recording cycles produced by Smokey Robinson, Holland–Dozier–Holland, Norman Whitfield, and Barrett Strong. Personnel shifts linked the group to contemporaries such as The Miracles, classic Motown lineups, and later collaborations with musicians associated with Quincy Jones, Berry Gordy Jr., and Clive Davis through industry showcases and award ceremonies like the Grammy Awards.
Rooted in Motown sound, the revue combined elements of doo-wop tradition from groups like The Drifters and The Platters with gospel influences traced to Mahalia Jackson and James Cleveland, and rhythmic innovations paralleling James Brown and Sly and the Family Stone. Production producers such as Smokey Robinson, Norman Whitfield, and Holland–Dozier–Holland layered string arrangements reminiscent of The Funk Brothers and horn charts that echoed work by arrangers tied to Quincy Jones and Gordon Jenkins. The bilingual crossover appeal that later characterized artists like Carlos Santana and Gloria Estefan was prefigured in the revue’s adaptability to pop radio formats exemplified on the Billboard Hot 100 and Cash Box charts.
The revue’s setlists showcased hits produced under the aegis of Motown Records songwriters including Smokey Robinson, Holland–Dozier–Holland, Norman Whitfield, and Barrett Strong. Signature recordings often drawn into revue performances included tracks associated with the group’s catalog appearing on albums released contemporaneously with works by Stevie Wonder’s Songs in the Key of Life era, Marvin Gaye’s What’s Going On, and Diana Ross’s solo material. Studio singles that became revue staples were promoted alongside catalogue from peers like The Supremes and Four Tops, and were tracked on industry charts such as the Billboard R&B listings and the UK Singles Chart, aligning the revue with international tours in London, Paris, and Tokyo.
Touring in the revue format connected the group to package shows and headlining engagements at historically significant venues including Madison Square Garden, Royal Albert Hall, Hollywood Bowl, and festival stages like Isle of Wight Festival and Monterey Pop Festival-era circuits. Television appearances brought the revue to mass audiences via The Ed Sullivan Show, American Bandstand, Soul Train, and late-night programs such as The Tonight Show Starring Johnny Carson. The touring model intersected with contemporaneous logistics challenges experienced by peers like James Brown and Otis Redding, while collaborative concerts paired the revue with acts promoted by agencies representing Bill Graham Presents and networks like MTV in later decades.
Performers associated with the revue and their recordings received honors from institutions including the Grammy Awards, the Rock and Roll Hall of Fame, and inductions into halls connected to regional music heritage like the Rhythm and Blues Foundation and the Vocal Group Hall of Fame. Industry recognition paralleled honors granted to contemporaries such as Sam Cooke, Ray Charles, Aretha Franklin, Stevie Wonder, Marvin Gaye, and Diana Ross, reflecting cross-generational influence documented in retrospectives by outlets like Rolling Stone and citations in historical surveys at museums including the Smithsonian Institution.
The revue format influenced subsequent ensemble acts and stagecraft employed by artists from Prince to Michael Jackson and groups like Boyz II Men, Jodeci, and New Edition. Choreography and vocal arrangements resonated in Broadway and theater productions alongside works by Harold Prince and in film depictions of the era featuring creatives such as Spike Lee, Barry Levinson, and Quentin Tarantino who drew on period soundtracks. The revue’s role in promoting African American artistry paralleled civil rights era cultural milestones connected to figures like Martin Luther King Jr. and events such as the March on Washington for Jobs and Freedom, embedding its output within broader narratives archived by institutions including the Library of Congress and exhibited in retrospectives at MoMA and the National Museum of African American History and Culture.
Category:American soul musical groups Category:Motown artists