Jimmy Ruffin Question

[daviddesper]

Having just read someone's comment about Bobby Taylor being difficult to work with, I am reminded of something that I "think" I read once about Jimmy Ruffin. But my brain is a little shaky on it.

I assume we would all agree that his debut album Top Ten was great and had numerous terrific cuts on it. But I seem to recall reading once that it was a hard album to record and that there may have been "problems" along the way.

Since my memory is so shaky, I am not saying that Jimmy was also difficult to work with. Instead I wonder if maybe it was an experience issue, perhaps being new to music, something along those lines. Does anyone have any insight into that?

[reese]

I vaguely recall reading Jimmy sometimes had problems staying on key but I cannot find a source for that info.

[luckyluckyme]

Perhaps the last line of paragraph 2 might be part of what you're recalling:

https://motownjunkies.co.uk/2009/10/13/52/

[snakepit]

Most Motown 1960s Lps were not recorded as Albums as such.
Various tracks, over a period of time, various Producers etc. Were pulled together, so to say recording the LP Top Ten is proof of JR and any distincr problems doesn't stack uo.
I think he was opinionated and perhaps bitter with his Motown career towards the end

[luckyluckyme]

I vaguely recall reading Jimmy sometimes had problems staying on key but I cannot find a source for that info.

Found it:

https://motownjunkies.co.uk/2011/12/19/443/


Comment by Landini :
Hey There, The Tempts do a good job on this one. Gladys Knight & her guys do a smokin job on it as well. Jimmy Ruffin, technically never had a great voice. Some critics talk about how he had trouble staying on key. However, when he had the right production/arrangement/song he could sound very good. Though the title esacpes me I liked that comeback hit he had in the 70s which I think was produced by one of the Gibb Bros. Of course, Mr. J Ruffin gets my vote for having one of the best album titles ever… “The Groove Governor” Right on!

[WaitingWatchingLookingForAChance]

Found it:

https://motownjunkies.co.uk/2011/12/19/443/


Comment by Landini :
Hey There, The Tempts do a good job on this one. Gladys Knight & her guys do a smokin job on it as well. Jimmy Ruffin, technically never had a great voice. Some critics talk about how he had trouble staying on key. However, when he had the right production/arrangement/song he could sound very good. Though the title esacpes me I liked that comeback hit he had in the 70s which I think was produced by one of the Gibb Bros. Of course, Mr. J Ruffin gets my vote for having one of the best album titles ever… “The Groove Governor” Right on!

This was not the only source to comment on Jimmy's variable pitch. I too read that in a book on Motown back in the 90s [[?) I had never noticed it UNTIL I read that offhanded remark -then I noticed it a lot more often than I would have thought. I love Jimmy, LOVE him, but, yeah, he does go off pitch sometimes.

[WaitingWatchingLookingForAChance]

Most Motown 1960s Lps were not recorded as Albums as such.
Various tracks, over a period of time, various Producers etc. Were pulled together, so to say recording the LP Top Ten is proof of JR and any distincr problems doesn't stack uo.
I think he was opinionated and perhaps bitter with his Motown career towards the end

I didn't realize that Berry wanted Jimmy to go with the Contours and that Jimmy pushed back pretty hard. I don't think it had anything to do with the group, just that Jimmy had his sights set on being a solo artist. You read interviews here and there and glean insights about a person; Jimmy did come across at times as thinking quite a lot of himself as an artist and how Motown didn't value his worth. I get the impression Jimmy wasn't afraid to speak his mind at any time, and good for him. Nobody at Motown seemed to be particularly interested in advancing his career. At least not here in the US.

[Philles/Motown Gary]

Found it:

https://motownjunkies.co.uk/2011/12/19/443/


Comment by Landini :
Hey There, The Tempts do a good job on this one. Gladys Knight & her guys do a smokin job on it as well. Jimmy Ruffin, technically never had a great voice. Some critics talk about how he had trouble staying on key. However, when he had the right production/arrangement/song he could sound very good. Though the title esacpes me I liked that comeback hit he had in the 70s which I think was produced by one of the Gibb Bros. Of course, Mr. J Ruffin gets my vote for having one of the best album titles ever… “The Groove Governor” Right on!

Lucky, the only thing I remember hearing about Jimmy Ruffin back in the day was that he suffered from a bad case of stage fright. He loved recording but hated performing, which further explains why he turned down the opportunity to join The Temptations.

I, too, love Jimmy's "Groove Governor" album.

I'm easily annoyed by off-key singing, yet I've never associated that problem with Jimmy Ruffin. Robert Goulet, YES!!! But, Jimmy Ruffin, no.

BTW, the comeback album referred to was Jimmy's "Sunrise" LP, released in 1980 on RSO Records, which included his excellent dance-floor anthem, "Hold On To My Love". If my first hearing of this had been on the radio, I would have been thrilled to think that Jimmy had re-signed with Motown and this was his first new release. It has all the earmarks of Motown -- good beat, catchy melody -- especially on the chorus, sweet musical arrangement accented by strings and chimes, pleasing vocal performance, and powerful production -- especially from the instrumental break at 6:24 through the end of the track where the back-up girls come in..

JIMMY RUFFIN - "Hold On To My Love"
https://youtu.be/RXQjC0FfxrU

[mysterysinger]

I once saw Jimmy live on stage in Stockport and he seemed to have a problem with the band - so much so that he walked off stage for a while - when he came back on he did apologise saying something along the lines of him being so passionate about the music and it has to be right.

[MIKEW-UK]

Preferring to be a solo performer. In Jimmy's own words, and repeated elsewhere. Source is Jimmy's interview with the BBC. 1999

"What were the best and worst decisions in your life?Will you take two best decisions? One was getting out of the army to be a singer - I'd intended to make the army my career. The second was NOT joining The Temptations. They were begging me to join but I wanted to be solo - I'd been used to having my own group, I didn't want to have another one. So then I spent time persuading my brother David that he should join them instead."

As for performing, he seemed to love it and was always on stage. Again , his own words.

What was it like taking part in the Motown Review travelling shows, with the likes of The Tempations and The Supremes?
Hard work. The only enjoyment was in the performing. There was a lot of learning the business, learning how to perform - Marvin Gaye never thought he was any good. I'd done it in the military so it was okay for me.

[bob_olhsson]

When I engineered sessions with both Bobby and Jimmy, they had very positive attitudes and there were never any pitch problems. I don't know where these writers get these negative ideas. I suppose drama sells.

[Philles/Motown Gary]

I once saw Jimmy live on stage in Stockport and he seemed to have a problem with the band - so much so that he walked off stage for a while - when he came back on he did apologise saying something along the lines of him being so passionate about the music and it has to be right.

Ouch! Even after all these years, and from way across the pond, I'm sensing the tension that you and the audience must have felt at that concert. I don't blame Jimmy, though. Unless an artist has the luxury of traveling with their own band, they're constantly at the mercy of the band on hand at each venue. I sure couldn't live like that. I'd be a nervous wreck worrying about every date on the tour.

[mysterysinger]

Don't Feel Sorry For Me PMG [[lol) - it was a great show entitled "Magic Of Motown" and Jimmy Ruffin, Junior Walker and Edwin Starr were on the bill. The tour was in 1989 and I caught it on 8th October 1989 at the Davenport Theatre in Stockport. Great memories but the sad thing is that these artists and even the theatre are all gone!

[Boogiedown]

Lucky, the only thing I remember hearing about Jimmy Ruffin back in the day was that he suffered from a bad case of stage fright. He loved recording but hated performing, which further explains why he turned down the opportunity to join The Temptations.

I, too, love Jimmy's "Groove Governor" album.

I'm easily annoyed by off-key singing, yet I've never associated that problem with Jimmy Ruffin. Robert Goulet, YES!!! But, Jimmy Ruffin, no.

BTW, the comeback album referred to was Jimmy's "Sunrise" LP, released in 1980 on RSO Records, which included his excellent dance-floor anthem, "Hold On To My Love". If my first hearing of this had been on the radio, I would have been thrilled to think that Jimmy had re-signed with Motown and this was his first new release. It has all the earmarks of Motown -- good beat, catchy melody -- especially on the chorus, sweet musical arrangement accented by strings and chimes, pleasing vocal performance, and powerful production -- especially from the instrumental break at 6:24 through the end of the track where the back-up girls come in..

JIMMY RUFFIN - "Hold On To My Love"
https://youtu.be/RXQjC0FfxrU

I love the song too, but fake strings unfortunately. It marked the beginning of the end ...

do you know the disconet version Gary? [added: your link is the disconet version, it was the only dutiful long version. This record came out in 1980 when the industry decided disco must die ....hence no 12" pressing]



It's "sad" disco to my ears ....an uncommon thing

[tjl]

Jimmy was a troubled soul in my experience, at least when I met him.

We had booked for two different tv specials [[one with Aretha hosting and Lou Rawls) the other with Dionne hosting with Jerry Butler. On both occasions we had a close friend of Jimmy's accompany him to the airport in the UK. And on both occasions, just as the plane was about to close the doors he got up and stormed out with a smattering of expletives as to why he didn't want to be on a show that included a celebration of Motown.

Edwin Starr was on the same flight and was "one heart's delight" - Jimmy however was very bitter and even though Edwin tried to calm him for us, there was no way once he started thinking about it on the actual plane he was staying. We had pre-recorded Jimmy's tracks for the special so Jimmy could be comfortable and practice with the click and tv track - sadly we said "Farewell My Love" to us not once, but twice out of what I think was nerves.

I remember talking with him on the taxi back to his flat via mobile - - I kept saying "Jimmy, please man please - Farewell Is A Lonely Sound" we don't want to do it without you here, but he wasn't hearing it. Even Freddy Gorman tried calling him to let him know the Originals would be there along with Louvain and Pat Lewis to back him up. He just snapped and said "no way" after he was paid, booked and on the plane from the UK to Pittsburgh. Even George Williams [[of the Tymes) tried going to house to beg him to reconsider [[as George had made the trek a year earlier Doo Wop to reunit with The Tymes) on one of my tv shows. Jimmy didn't answer but he heard from Rosetta Hightower that he was home and told her he wasn't going to answer for George.

Ben E. King was also set to do a duet with Jimmy in tribute to his brother's memory for "Stand By Me" - it's one of those sad memories of something that almost happened but didn't as Jimmy really - seemed to almost change personalities from the time he said yes [[twice).

[WaitingWatchingLookingForAChance]

Jimmy was a troubled soul in my experience, at least when I met him.

We had booked for two different tv specials [[one with Aretha hosting and Lou Rawls) the other with Dionne hosting with Jerry Butler. On both occasions we had a close friend of Jimmy's accompany him to the airport in the UK. And on both occasions, just as the plane was about to close the doors he got up and stormed out with a smattering of expletives as to why he didn't want to be on a show that included a celebration of Motown.

Edwin Starr was on the same flight and was "one heart's delight" - Jimmy however was very bitter and even though Edwin tried to calm him for us, there was no way once he started thinking about it on the actual plane he was staying. We had pre-recorded Jimmy's tracks for the special so Jimmy could be comfortable and practice with the click and tv track - sadly we said "Farewell My Love" to us not once, but twice out of what I think was nerves.

I remember talking with him on the taxi back to his flat via mobile - - I kept saying "Jimmy, please man please - Farewell Is A Lonely Sound" we don't want to do it without you here, but he wasn't hearing it. Even Freddy Gorman tried calling him to let him know the Originals would be there along with Louvain and Pat Lewis to back him up. He just snapped and said "no way" after he was paid, booked and on the plane from the UK to Pittsburgh. Even George Williams [[of the Tymes) tried going to house to beg him to reconsider [[as George had made the trek a year earlier Doo Wop to reunit with The Tymes) on one of my tv shows. Jimmy didn't answer but he heard from Rosetta Hightower that he was home and told her he wasn't going to answer for George.

Ben E. King was also set to do a duet with Jimmy in tribute to his brother's memory for "Stand By Me" - it's one of those sad memories of something that almost happened but didn't as Jimmy really - seemed to almost change personalities from the time he said yes [[twice).

This is so interesting to read, especially with them being your firsthand experiences. I wish I could remember where I read these things but I remember a few magazine/newspaper interviews from the 70s where the tone of Mr. Ruffin's remarks left no question as to how he felt about Motown. Even back then I get the impression he felt devalued there. I also seem to recall some hurt that his career wasn't as big in the U.S. as it was in the U.K. So maybe by the time of your experiences, there were quite a number of years' worth of bad feelings influencing those actions.

[SatansBlues]

This is so interesting to read, especially with them being your firsthand experiences. I wish I could remember where I read these things but I remember a few magazine/newspaper interviews from the 70s where the tone of Mr. Ruffin's remarks left no question as to how he felt about Motown. Even back then I get the impression he felt devalued there. I also seem to recall some hurt that his career wasn't as big in the U.S. as it was in the U.K. So maybe by the time of your experiences, there were quite a number of years' worth of bad feelings influencing those actions.

I do wonder if the resentment stemmed from his treatment at Motown or from "standing in the shadows" of other Motown greats. It must not have been easy to be in his brother David's shadow, in addition to the shadows of Marvin Gaye, Stevie Wonder, the Miracles, the Temptations, the Four Tops, Jr. Walker, even Edwin Starr's and Michael Jackson/J5. What year did Jimmy actually leave Motown?

[WaitingWatchingLookingForAChance]

I do wonder if the resentment stemmed from his treatment at Motown or from "standing in the shadows" of other Motown greats. It must not have been easy to be in his brother David's shadow, in addition to the shadows of Marvin Gaye, Stevie Wonder, the Miracles, the Temptations, the Four Tops, Jr. Walker, even Edwin Starr's and Michael Jackson/J5. What year did Jimmy actually leave Motown?

I have to say, in everything I've read [[so far) Jimmy never commented on or seemed jealous of David's career or of being overshadowed by other Motown artists. I think his beef was mainly that Motown just never seemed to be that interested in promoting him more. Not sure when he left Motown.

[MIKEW-UK]

The only reference to Jimmy’s date of departure I can find is from The Times obituary of Jimmy. The Times is generally an authoritative and accurate source of facts.

An excerpt states 1970. Post Motown, “Tell Me What You Want” on Polydor was released in 1974.
Jimmy Ruffin was one of the most potent singers to emerge from the golden era of American soul music. A product of the Motown “hit factory”, his memorably aching 1966 hit What Becomes of the Brokenhearted defined the anguished soul ballad, the song’s sorrowful vocal, melodramatic arrangement and insistent, building rhythm creating a template for the genre.
Further chart success followed as, in the proud boast of Motown’s advertising slogan, the label became “the sound of young America”. But just as the Motown hit machine made Ruffin’s career, it almost broke him as he lost out to more favoured artists on the label.
“I felt I wasn’t getting the right kind of promotion and follow-through,” Ruffin said when he left the label in 1970. “The company just didn’t seem interested.” Nor did his desire to steer his own path sit well at a label noted for expecting subservience from its artists. and controlling every aspect of their careers.
That he felt undervalued was in part down to the success of his younger brother David, who enjoyed a string of hits as lead singer with the Temptations. Yet there was no jealousy between them and Ruffin turned down an invitation to join the Temptations in favour of a solo career and recommended his sibling.
“He [Jimmy] was underrated because we were also fortunate to have David, who got so much acclaim,” Motown’s founder Berry Gordy admitted. But Gordy added that What Becomes of the Brokenhearted was “one of the greatest songs put out by Motown and one of my personal favourites”.

[MIKEW-UK]

On Jimmy’s Polydor album, recorded in Philadelphia and Detroit, the label shows “Family Affair” was recorded in 1971, so the 1970 departure date would be supported by that fact

[Graham Jarvis]

I met Jimmy Ruffin a number of times, he used to regularly tour the UK. It was also well known that he was bitter about Motown, however UK followers loved his Motown 45's & always used to request such songs. The last time I talked to him and saw him perform was at the "Butter Market" in Shrewsbury. As always I took some of his records [none Motown] to sign. His eyes lit up when he spotted " Tell Me What You Want" [on UK Polydor] he said he had wanted a copy for many years. I Gave it to him, he was such a great man and would always spend time with nearly everybody. May he rest in peace.

[WaitingWatchingLookingForAChance]

The only reference to Jimmy’s date of departure I can find is from The Times obituary of Jimmy. The Times is generally an authoritative and accurate source of facts.

An excerpt states 1970. Post Motown, “Tell Me What You Want” on Polydor was released in 1974.
Jimmy Ruffin was one of the most potent singers to emerge from the golden era of American soul music. A product of the Motown “hit factory”, his memorably aching 1966 hit What Becomes of the Brokenhearted defined the anguished soul ballad, the song’s sorrowful vocal, melodramatic arrangement and insistent, building rhythm creating a template for the genre.
Further chart success followed as, in the proud boast of Motown’s advertising slogan, the label became “the sound of young America”. But just as the Motown hit machine made Ruffin’s career, it almost broke him as he lost out to more favoured artists on the label.
“I felt I wasn’t getting the right kind of promotion and follow-through,” Ruffin said when he left the label in 1970. “The company just didn’t seem interested.” Nor did his desire to steer his own path sit well at a label noted for expecting subservience from its artists. and controlling every aspect of their careers.
That he felt undervalued was in part down to the success of his younger brother David, who enjoyed a string of hits as lead singer with the Temptations. Yet there was no jealousy between them and Ruffin turned down an invitation to join the Temptations in favour of a solo career and recommended his sibling.
“He [Jimmy] was underrated because we were also fortunate to have David, who got so much acclaim,” Motown’s founder Berry Gordy admitted. But Gordy added that What Becomes of the Brokenhearted was “one of the greatest songs put out by Motown and one of my personal favourites”.

Wow! Thanks for uploading this article! So my memory isn't as faulty or sketchy as I've always thought about those interviews with Jimmy.

[SatansBlues]

The only reference to Jimmy’s date of departure I can find is from The Times obituary of Jimmy. The Times is generally an authoritative and accurate source of facts.

An excerpt states 1970. Post Motown, “Tell Me What You Want” on Polydor was released in 1974.
Jimmy Ruffin was one of the most potent singers to emerge from the golden era of American soul music. A product of the Motown “hit factory”, his memorably aching 1966 hit What Becomes of the Brokenhearted defined the anguished soul ballad, the song’s sorrowful vocal, melodramatic arrangement and insistent, building rhythm creating a template for the genre.
Further chart success followed as, in the proud boast of Motown’s advertising slogan, the label became “the sound of young America”. But just as the Motown hit machine made Ruffin’s career, it almost broke him as he lost out to more favoured artists on the label.
“I felt I wasn’t getting the right kind of promotion and follow-through,” Ruffin said when he left the label in 1970. “The company just didn’t seem interested.” Nor did his desire to steer his own path sit well at a label noted for expecting subservience from its artists. and controlling every aspect of their careers.
That he felt undervalued was in part down to the success of his younger brother David, who enjoyed a string of hits as lead singer with the Temptations. Yet there was no jealousy between them and Ruffin turned down an invitation to join the Temptations in favour of a solo career and recommended his sibling.
“He [Jimmy] was underrated because we were also fortunate to have David, who got so much acclaim,” Motown’s founder Berry Gordy admitted. But Gordy added that What Becomes of the Brokenhearted was “one of the greatest songs put out by Motown and one of my personal favourites”.

Thanks for posting that information. I guess his's was a quiet departure from Motown. He was not the first artist to leave the company for "lack of promotion". It looks like he left at the end of 1970. His duet album with his brother "I Am My Brother's Keeper" was released in October 1970. It would be interesting to know the details behind the recording of those tracks. It didn't seem like the singles or album did too much or got much attention.

[MIKEW-UK]

Looking at the chronology, I assume Jimmy's departure from Motown, for whatever reason, was in an untimely manner, given that the David and Jimmy album was released in October 1970.

DFTMC gives completion dates for most of the album tracks as April 1970. With the new album coming out in October, something went awry.....

Didn't I [[Blow Your Mind This Time) [[Thom Bell-William Hart) published Nickel Shoe
David & Jimmy Ruffin; recorded Hitsville-GW, completed 30-Apr-70 ; produced by Henry Cosby
Oct-70; LP [[S): Soul SS728 I Am My Brother's Keeper
Got To See If I Can't Get Mommy [[To Come Back Home) [[Helen Miller-Rose-Marie McCoy) published Chevis/McCoy
David & Jimmy Ruffin; recorded Hitsville-GW, completed 30-Apr-70 ; produced by Bobby Taylor
He Ain't Heavy, He's My Brother [[Bobby Scott-Bob Russell
David & Jimmy Ruffin; recorded Hitsville-GW, completed 30-Apr-70 ; produced by Henry Cosby
Oct-70; LP [[S): Soul SS728 I Am My Brother's Keeper
Lo And Behold [[James Taylor) published Country Rd/Blackwood
David & Jimmy Ruffin; recorded Hitsville-GW, completed 25-Apr-70 ; produced by Bobby Taylor ; arranged by Robert White
Set 'Em Up [[Move In For The Thrill) [[Norma Jean Toney-William Garrett-Al Hamilton) published Jobete 10-Jul-70
alt title: Easy Way Out
David & Jimmy Ruffin; recorded Hitsville-GW, completed 30-Apr-70 ; produced by Al Kent
Stand By Me [[Ben E. King-Jerry Leiber-Mike Stoller) published Progressive-Trio-ADT
David & Jimmy Ruffin; recorded Hitsville-GW, completed 07-Jun-70 ; produced by Frank Wilson ; arranged by Willie Shorter, Tom Baird
Steppin' On A Dream [[Joe Hinton-James Dean-Henry Cosby) published Jobete 11-Mar-70
David & Jimmy Ruffin; recorded Hitsville-GW, completed 30-Apr-70 ; produced and arranged by Henry Cosby, Paul Riser
Things We Have To Do, The [[Duke Browner) published Jobete 10-Jul-70
David & Jimmy Ruffin; recorded Hitsville-GW, completed 30-Apr-70 ; produced by Duke Browner ; arranged by Paul Riser
True Love Can Be Beautiful [[Jeana Jackson-Bobby Taylor-Leonard Caston) published Jobete 24-Mar-70
David & Jimmy Ruffin; recorded Hitsville-GW, completed 30-Apr-70 ; produced by Bobby Taylor, Leonard Caston
Turn Back The Hands Of Time [[Jack Daniels-Bonnie Thompson) published Dakar-Jadan
David & Jimmy Ruffin; recorded Hitsville-GW, completed 29-Apr-70 ; produced by Henry Cosby
When My Love Hand Comes Down [[Pamela Sawyer-Gloria Jones) published Jobete 01-Jul-70
David & Jimmy Ruffin; recorded Hitsville-GW, completed 28-Apr-70 ; produced by Bobby Taylor ; arranged by Dave Van DePitte, Robert White
You're What I Need [[Not What I Want) [[Pamela Sawyer-Gloria Jones) published Jobete 27-May-70
David & Jimmy Ruffin; recorded Hitsville-GW, completed 28-Apr-70 ; produced by Bobby Taylor
Your Love Was Worth Waiting For [[Pamela Sawyer-Gloria Jones) published Jobete 07-Jul-70
David & Jimmy Ruffin; recorded Hitsville-GW, completed 30-Apr-70 ; produced by Bobby Taylor ; arranged by Robert White, Dave Van DePitte

[MIKEW-UK]

As I already have the vinyl release, I did not buy the cd expanded edition. However, the cd came with a large booklet, in which Jimmy is interviewed. Any one got the booklet and can share the contents as to Jimmy's thoughts?

What we do know is that Jimmy "benched" Motown in 1970, according to his interview with the BBC in 1999.

"
Why did you move to London in 1970?

I moved because I was very popular in England and I'd benched my record company. I was too aware of the game and sometimes I didn't agree and I would say No so we didn't always see eye to eye. Plus I'm an ex-soldier, trained since the age of 16 to react aggressively in certain situations. In America those situations arise quite often. London is much more laid back. "

[Sotosound]

So... was the choice of "On The Way Out" as Jimmy's follow-up to the UK smash "It's Wonderful [[To Be Love By You)" just a coincidence or also a little dig?

When I first heard it, I felt that the title was quite apt, i.e. a poor single to signal the end of his UK chart career.

[MIKEW-UK]

Certainly Jimmy had no say as to what Motown UK decided to release. Motown UK was still releasing 45s by Jimmy 34 years after he left.!

[Boogiedown]

I met Jimmy Ruffin a number of times, he used to regularly tour the UK. It was also well known that he was bitter about Motown, however UK followers loved his Motown 45's & always used to request such songs. The last time I talked to him and saw him perform was at the "Butter Market" in Shrewsbury. As always I took some of his records [none Motown] to sign. His eyes lit up when he spotted " Tell Me What You Want" [on UK Polydor] he said he had wanted a copy for many years. I Gave it to him, he was such a great man and would always spend time with nearly everybody. May he rest in peace.

Well done !!

[danman869]

Just going by recording dates that were included in the Ultimate Motown Collection released many years ago, there are at least four songs Jimmy recorded for Motown in 1971. They are:

1. "Change Your Mind" - Allen Story/George Gordy/Lawrence Brown/Bernadette Story - Produced by George Gordy and Allen Story. Working title: "Time And Time Again". Track recorded December 18, 1970, assigned to The Originals; horns added February 22, 1971; JR lead vocal April 12, 1971. Previously unreleased.

2. "I Pray You Still Love Me" - Pamela Sawyer/Jimmy Roach - Produced by Jimmy Roach. Track and lead vocal 9/24/1970, background voices 1/7/1971, horns 1/21/1971, strings 2/26/1971, lead re-recorded, background voices and additional instruments 4/13/71, completed 5/28/71. Previously unreleased.

3. "East Side West Side" - Terry Johnson/Donny Soul/Ron Welser - Produced by Terry Johnson. Working title: "In A Minute I'll Be There." Track 4/27/1970, assigned to The Originals; strings 5/26/1970, horns 6/26/1970, Jimmy Ruffin lead vocal 5/24/1971, background voices 5/28/1971. Previously unreleased.

4. "That's You Girl" - Allen Story/George Gordy/Lawrence Brown - Produced by George Gordy and Lawrence Brown. Track recorded December 18, 1970, assigned to The Jackson 5. JRs lead vocal December 30, 1970, background voices January 21, 1970, second lead vocal November 5, 1971. Previously unreleased.

Granted, recording 3 lead vocals on track in the spring of 1971 and then coming back in the fall to record a last [second/new] lead vocal on a final track [that you'd technically finished almost a year before] wasn't exactly a highly busy run up to the end of a contract or whatever. It makes me think Jimmy may have said, "eff Motown and eff Detroit--I'm going to go move to London and pursue concert work there!" but... it doesn't seem that he completely "benched" his record company at the end of 1970. Could he have does those final vocals under duress or at least begrudgingly? Sure. After what [I've] learned here about his volatility, it could be possible. But certainly there were still producers/writer who wanted to work with Jimmy--even if the material never was released? Plus, Motown released Jimmy's last single in January 1972. That makes me think his contract ended in 1972 and either that final release was obligatory or it was a last [likely half-hearted] attempt on Motown's part to make some money from Jimmy's output. That last record "Our Favorite Melody" had new background vocals recut in late September 1971, so... why would Motown/the producers [George Gordy & Lawrence Brown] bother if Jimmy wasn't still considered an artist worth working with and preparing material for release?

It's sad that Jimmy was so bitter about Motown. Granted, he probably had a good reasons to be in some respects, but... 20 years on? Get some therapy, work through it so you can let it go and move forward.

[SatansBlues]

Just going by recording dates that were included in the Ultimate Motown Collection released many years ago, there are at least four songs Jimmy recorded for Motown in 1971. They are:

1. "Change Your Mind" - Allen Story/George Gordy/Lawrence Brown/Bernadette Story - Produced by George Gordy and Allen Story. Working title: "Time And Time Again". Track recorded December 18, 1970, assigned to The Originals; horns added February 22, 1971; JR lead vocal April 12, 1971. Previously unreleased.

2. "I Pray You Still Love Me" - Pamela Sawyer/Jimmy Roach - Produced by Jimmy Roach. Track and lead vocal 9/24/1970, background voices 1/7/1971, horns 1/21/1971, strings 2/26/1971, lead re-recorded, background voices and additional instruments 4/13/71, completed 5/28/71. Previously unreleased.

3. "East Side West Side" - Terry Johnson/Donny Soul/Ron Welser - Produced by Terry Johnson. Working title: "In A Minute I'll Be There." Track 4/27/1970, assigned to The Originals; strings 5/26/1970, horns 6/26/1970, Jimmy Ruffin lead vocal 5/24/1971, background voices 5/28/1971. Previously unreleased.

4. "That's You Girl" - Allen Story/George Gordy/Lawrence Brown - Produced by George Gordy and Lawrence Brown. Track recorded December 18, 1970, assigned to The Jackson 5. JRs lead vocal December 30, 1970, background voices January 21, 1970, second lead vocal November 5, 1971. Previously unreleased.

Granted, recording 3 lead vocals on track in the spring of 1971 and then coming back in the fall to record a last [second/new] lead vocal on a final track [that you'd technically finished almost a year before] wasn't exactly a highly busy run up to the end of a contract or whatever. It makes me think Jimmy may have said, "eff Motown and eff Detroit--I'm going to go move to London and pursue concert work there!" but... it doesn't seem that he completely "benched" his record company at the end of 1970. Could he have does those final vocals under duress or at least begrudgingly? Sure. After what [I've] learned here about his volatility, it could be possible. But certainly there were still producers/writer who wanted to work with Jimmy--even if the material never was released? Plus, Motown released Jimmy's last single in January 1972. That makes me think his contract ended in 1972 and either that final release was obligatory or it was a last [likely half-hearted] attempt on Motown's part to make some money from Jimmy's output. That last record "Our Favorite Melody" had new background vocals recut in late September 1971, so... why would Motown/the producers [George Gordy & Lawrence Brown] bother if Jimmy wasn't still considered an artist worth working with and preparing material for release?

It's sad that Jimmy was so bitter about Motown. Granted, he probably had a good reasons to be in some respects, but... 20 years on? Get some therapy, work through it so you can let it go and move forward.

Nice detective work there. I do wonder about his contract, like was Motown legally obligated to release two 45s for every contract year with JR? Has all of Jimmy's recordings now been released or is there still vaulted material by JR? Does anyone know what his first post-Motown 45/recording was released? Was it in 1972?

[MIKEW-UK]

Thank you Girl released UK Polydor 1973. His album shows Family Affair recorded 1971.

[MIKEW-UK]

That is indeed very good detective work

I wonder what is the difference if any between recorded date and completed date. Keith Hughes, can you educate me?

[Graham Jarvis]

As far as i'm aware [[from memory) Jimmy's first UK none Motown 45 was "Mother's Love" on Mojo / Polydor Dec 1973. His first US copy also Dec 1973 on Atco

[MIKEW-UK]

Actually, Thankyou Girl on Polydor preceded Mother’s Love in 1973