"Masterpiece" is a 1973 album by The Temptations for the Gordy (Motown) label, produced and written by Norman Whitfield.
Arguably the Temptations' best album since Truly For You dropped in 1984, For Lovers Only is not the Temptations' first album of standards. This set of classics is different than Temptations in a Mellow Mood, where they acquiesced to the material, giving relatively straight readings, and never deviated far from the songs' popular arrangements. The only things the standards on For Lovers Only have in common with the originals are the titles and the lyrics, the arrangements are completely different, and the tempos are changed. The Temptations' sing with this much enthusiasm in years.
is the fifth studio album by for the Gordy (Motown) label released in 1967. Featuring four hit singles, is the most successful album from their "classic 5" era, during which , , , , and constituted ' lineup. The four singles from the album, all Top 20 Pop / Top 10 R&B hits, were , , , and . three of these four songs also reached the Billboard Pop Top 10 as well. produced most of the tracks here, supporting ' vocals with a hard-edged soul sound with elements of the music of .
Struggling to rekindle the magic that kept them atop the charts, the group was, for the most part, missing in action on this album. Nonetheless, the five vocalists did hit the charts with the title track, .
Produced by , and he's imitating the blatantly, from the album cover on down. But the funk's not nearly as fiery as the ' (title track), and it comes off as a failed attempt to keep up with trends - ditto for the overproduced disco numbers ("Mystic Woman"). are at their best here when they stick with their earlier smooth balladeering (the lovely "Ever Ready Love"); the uptempo "I Just Don't Know How To Let You Go" is also enjoyable but slight. Not surprisingly, this was a commercial catastrophe, failing to even chart as a pop record and falling short of the Top 40 on the R & B chart.
No vocal group is better qualified to pay tribute to R&B's golden era than the Temptations, who do exactly that on Back to Front (an album containing mostly covers of soul classics from the '60s and '70s).
In 1965 the Temptations were gaining serious momentum as one of Motown's most popular acts. Thanks partly to the assistance of Smokey Robinson, who contributed six songs, TEMPTIN' TEMPTATIONS kept that momentum rolling. In many ways, in fact, TEMPTIN' TEMPTATIONS, the group's third album for Motown, is a showcase for Robinson. He wrote and produced some bright, melodically spot-on tunes– the elegantly sad "Since I Lost My Baby," the charming "My Baby," and the infectious "You've Got to Earn It".
Here is a side of Handel unfamiliar even to those knowledgeable about his music. Most of this CD is devoted to miscellaneous songs in English‚ many of them published in his time on song sheets‚ or in journals‚ or given to friends‚ or intended for use in the theatre. They are‚ generally‚ in a more popular vein than his familiar music‚ and often in the style used by such composers as Arne or Boyce‚ or lesser men‚ in their English songs. The best of them‚ to my taste‚ are the theatre songs: ‘I like the amorous youth’ is a specially charming piece‚ and ‘Love’s but the frailty of the mind’‚ a Congreve setting made for the admired actresssinger Kitty Clive‚ is an exquisite and touching little song‚ especially when sung as beautifully as it is here by Emma Kirkby.