Atlantic Records success: Temptations vs. Spinners

[woodward]

I was just playing my Spinners Platinum Series 60 CD consisting of 20 songs by the Spinners. It was officially entitled Detroit Spinners issued in 2007.

The thought just entered my mind after listening to this collection that it is a shame that Thom Bell did not sign with Motown and connect with the Spinners. Who knows what other million sellers they could have had with Motown and Thom's involvement.

On the other hand, the Temptations left Motown and signed with Atlantic with barely any success. They had 5 singles and 2 albums in the period 1977 through 1979 but I doubt that the total sales of these 7 releases aggregated the sales of one Spinners record: Could It Be I'm Falling in Love.

A huge imbalance between the label's success with both groups.

[soulster]

I was just playing my Spinners Platinum Series 60 CD consisting of 20 songs by the Spinners. It was officially entitled Detroit Spinners issued in 2007.

The thought just entered my mind after listening to this collection that it is a shame that Thom Bell did not sign with Motown and connect with the Spinners.


I'm glad he didn't!

Motown wouldn't have allowed Thom Bell the freedom to do what he wanted to do. It's why the Spinners left the label in the first place.

[Motown Eddie]

I was just playing my Spinners Platinum Series 60 CD consisting of 20 songs by the Spinners. It was officially entitled Detroit Spinners issued in 2007.

The thought just entered my mind after listening to this collection that it is a shame that Thom Bell did not sign with Motown and connect with the Spinners. Who knows what other million sellers they could have had with Motown and Thom's involvement.

On the other hand, the Temptations left Motown and signed with Atlantic with barely any success. They had 5 singles and 2 albums in the period 1977 through 1979 but I doubt that the total sales of these 7 releases aggregated the sales of one Spinners record: Could It Be I'm Falling in Love.

A huge imbalance between the label's success with both groups.

Yes Indeed! The Temptations brief tenure with Atlantic Records was a disappointment but at least it led the group back to Motown where they enjoyed another run of success in the '80s. In fact, The Tempts hold the record of being the only act to return to Motown and enjoy major hits since returning to the company.

[soulster]

Yes Indeed! The Temptations brief tenure with Atlantic Records was a disappointment but at least it led the group back to Motown where they enjoyed another run of success in the '80s. In fact, The Tempts hold the record of being the only act to return to Motown and enjoy major hits since returning to the company.

The Temptations were always Motown's consistent, or at least steady money maker. They paid the bills.

[midnightman]

The Temptations made a mistake leaving Motown the first time they left. I'm sure they could've worked out a better contract where not only would control of the name go to Otis and Melvin [[as it did when they left them) but also allow them to be executive producers on their own albums to make sure they make more money than they would as performers. But maybe they and Motown needed a "split" before realizing they still needed each other at the time. And it worked out eventually when they did return. Had it not been for that, this 34-year-old wouldn't have discovered them not only for their classics but for their mid-to-late '90s/early '00s resurgence.

[WaitingWatchingLookingForAChance]

I'm glad he didn't!

Motown wouldn't have allowed Thom Bell the freedom to do what he wanted to do. It's why the Spinners left the label in the first place.

My thought exactly. I really believe Motown would have suffocated the life out of anything Thom Bell would have come up with. For one thing, to me, something about some of the music coming out of Motown in the 70's sounded a bit stilted as opposed to what was going on at other record companies. The sound Thom Bell was getting from the musicians he was using as well as the studios used gave the music a freshness that I find missing at Motown from the same era. What's more, Motown wouldn't have paid any more attention to The Spinners than they had been. When you get a good hit like "It's A Shame" and fail to follow up on it, the writing wasn't only on the wall, it was all over the building.

[Motown Eddie]

My thought exactly. I really believe Motown would have suffocated the life out of anything Thom Bell would have come up with. For one thing, to me, something about some of the music coming out of Motown in the 70's sounded a bit stilted as opposed to what was going on at other record companies. The sound Thom Bell was getting from the musicians he was using as well as the studios used gave the music a freshness that I find missing at Motown from the same era. What's more, Motown wouldn't have paid any more attention to The Spinners than they had been. When you get a good hit like "It's A Shame" and fail to follow up on it, the writing wasn't only on the wall, it was all over the building.

Agreed! As much as I love Motown, their sound had it's heyday during the '60s [[while continuing to be a successful company). It was time for a new sound in the '70s and Philly Soul was that sound. I don't see the likelihood of Thom Bell [[and his musicians & writing staff) hooking up with Motown during the early '70s. PS: Bell would produce an LP for The Temptations on Motown [[1981's The Temptations) which failed to produce any major hits.

[WaitingWatchingLookingForAChance]

Agreed! As much as I love Motown, their sound had it's heyday during the '60s [[while continuing to be a successful company). It was time for a new sound in the '70s and Philly Soul was that sound. I don't see the likelihood of Thom Bell [[and his musicians & writing staff) hooking up with Motown during the early '70s. PS: Bell would produce an LP for The Temptations on Motown [[1981's The Temptations) which failed to produce any major hits.

Whew! I wasn't sure that comment would go over too well, lol, but Philadelphia International definitely had a much fresher, sound in the 70's. In some ways, they did what Motown did in the 60's, but with a bit much better studio sound [[to my ears.)

[soulster]

Agreed! As much as I love Motown, their sound had it's heyday during the '60s [[while continuing to be a successful company). It was time for a new sound in the '70s and Philly Soul was that sound. I don't see the likelihood of Thom Bell [[and his musicians & writing staff) hooking up with Motown during the early '70s. PS: Bell would produce an LP for The Temptations on Motown [[1981's The Temptations) which failed to produce any major hits.


Once the move of the company to Los Angeles was complete, Motown became just another corporate entity. They had no obligation to take care of their own. And, Barry was off trying to be a movie mogul.

[lockhartgary]

And to think that Atlantic records gave Thom Bell a computer printout of the artists signed to the label and told him he could choose whomever he wanted, and he chose the Spinners and was urged to choose someone else. Atlantic didn't want to spend any more money on the Spinners, nor did they want Thom Bell to do a whole album's worth of sessions initially. He held his ground, insisted on the Spinners and the rest is history.

[soulster]

And to think that Atlantic records gave Thom Bell a computer printout of the artists signed to the label and told him he could choose whomever he wanted, and he chose the Spinners and was urged to choose someone else. Atlantic didn't want to spend any more money on the Spinners, nor did they want Thom Bell to do a whole album's worth of sessions initially. He held his ground, insisted on the Spinners and the rest is history.

Atlantic had a history of doing that. Once an R&B artist had some success, the label would give them a list of artists to work with. I still chuckle that Atlantic actually gave Bernard Edwards and Nile Rodgers an offer to produce The Rolling Stones!

[Philles/Motown Gary]

Of all the great Philly Soul producers, Thom Bell remains my favorite -- especially his collaborations with Linda Creed. When I discovered in 1981 that Thom had produced the new self-titled "Temptations" album, I was expecting a masterpiece, just as Thom had created for The Spinners as well as forJohnny Mathis, Dionne Warwick, Deniece Williams, Ronnie Dyson, and other artists not normally-associated with Philly soul. I really had high hopes for this Motown/Philly hybrid. Instead, what I heard, to my ears, was a shocking disappointment. If you had blindfolded me and made me play "Guess The Producer", I would have NEVER guessed it was Thom Bell. I remember like yesterday how my heart sank throughout the initial play-through. All I could think was, "My God, what happened? Has Thom lost his touch?" It was boring and second-rate both Motown-wise AND Philly-wise.

I'll admit that when Motown reissued "The Temptations" as a download a few years back, I bought it again and burned it to CD. This time around, it sounded better than it had back in 1981, but it was still a far cry from Thom's other masterpiece productions. Come to think of it, I don't really remember Thom Bell producing much on anyone after that other than Eloise Laws in [[I think) 1982.

[arr&bee]

I never cared for thom bell and the temps,yes i too have the album[the temptations]from[81]mostly album filler...the life of a cowboy-just ain't havin any fun???really?

[jboy88]

Of all the great Philly Soul producers, Thom Bell remains my favorite -- especially his collaborations with Linda Creed. When I discovered in 1981 that Thom had produced the new self-titled "Temptations" album, I was expecting a masterpiece, just as Thom had created for The Spinners as well as forJohnny Mathis, Dionne Warwick, Deniece Williams, Ronnie Dyson, and other artists not normally-associated with Philly soul. I really had high hopes for this Motown/Philly hybrid. Instead, what I heard, to my ears, was a shocking disappointment. If you had blindfolded me and made me play "Guess The Producer", I would have NEVER guessed it was Thom Bell. I remember like yesterday how my heart sank throughout the initial play-through. All I could think was, "My God, what happened? Has Thom lost his touch?" It was boring and second-rate both Motown-wise AND Philly-wise.

I'll admit that when Motown reissued "The Temptations" as a download a few years back, I bought it again and burned it to CD. This time around, it sounded better than it had back in 1981, but it was still a far cry from Thom's other masterpiece productions. Come to think of it, I don't really remember Thom Bell producing much on anyone after that other than Eloise Laws in [[I think) 1982.

Thom himself was aware that he was running out of steam. That’s why he stopped working with the Spinners. After John Edwards joined the group, he had a difficult time getting the same magic he got out of Philippe Wynn. He knew his hit making days were behind him.

[Philles/Motown Gary]

I never cared for thom bell and the temps,yes i too have the album[the temptations]from[81]mostly album filler...the life of a cowboy-just ain't havin any fun???really?

Yeah! "The Life Of A Cowboy"! Man, talk about a mismatched title! I could see it if it were a Roy Rogers or John Wayne track, but the Tempts?!!! I don't think that's what Motown had in mind when they moved "out West"!!!

[Philles/Motown Gary]

Thom himself was aware that he was running out of steam. That’s why he stopped working with the Spinners. After John Edwards joined the group, he had a difficult time getting the same magic he got out of Philippe Wynn. He knew his hit making days were behind him.

It's sad when that happens, but, like all songwriters and producers, Thom was only human. After several years of top-notch masterpieces, something happens and the creative juices start to dry up. The once-creative mind runs out of steam. Unfortunately, it's a fact of life that happens to all of our musical heroes.