
The Temptations Cloud Nine Rar
Performer: The Temptations. Title: Cloud Nine. Category: Funk / Soul. Download links. The Temptations - Cloud Nine ZIR archive (MP3 version). The Temptations title track and first single released off Their album Cloud Nine. This Offically entering The Temptations into their psychedelic era. And the solo recording debut of Dennis Edwards on lead replacing David Ruffin.
ചുവന്ന ചങ്കുള്ള ഒാരോ കമ്മ്യൂണിസ്റ്റ് കാരനും കേൾക്കാൻ. Dyfi viplava ganangal mp3 download. ചുവപ്പിനെ അറപ്പോടെ കാണുന്നവർക്കും കേൾക്കാൻ.
ALBUM OF THE MONTH FIVE REASONS TO LISTEN: • First LP release with Dennis Edwards as lead singer. • Features Top 10 pop singles “Cloud Nine,” “Runaway Child, Running Wild.” • Introduces producer Norman Whitfield’s “psychedelic soul,” influenced by Sly & the Family Stone.
• Underrated Paul Williams takes the lead on “Hey Girl,” “Don’t Let Him Take Your Love From Me.” • Top session guitarist Dennis Coffey joins Motown, debuting on “Cloud Nine.” FOUR FAST FACTS: • Original release date: 17 February, 1969. • Top 5 on the Billboard pop charts, and No. 1 R&B for 13 weeks. • twelfth album in five years. • “Cloud Nine” was Motown’s first Grammy® award winner. VIDEO: FULL TRACK LISTING: DETAIL: • The Cloud Nine album stands as a milestone for one of the most successful and consistently popular acts at Motown Records – or anywhere, for that matter. From early 1964 to mid-1968, had delivered a remarkable 13 Top 20 pop hits, including four consecutive Top 10 titles, while eight – count ’em, eight – of their albums reached No.
1 on the R&B charts. Truly, David Ruffin, Eddie Kendricks, Paul Williams, Otis Williams and Melvin Franklin were the emperors of soul. They reigned in concert, too, annually attracting tens of thousands of fans to their shows, whether in top-drawer theaters, funky nightclubs or sophisticated cabaret spots. Their stage choreography was peerless, a standard to which so many others aspired. • So what makes Cloud Nine so significant? Because it was first LP to follow the shock departure of revered lead singer David Ruffin in the summer of ’68, and it arrived soon after the title track – recorded in October – had redefined their sound and their promise.
This is psychedelic soul, influenced by the provocative rock ’n’ R&B fusion of Sly & the Family Stone, and set against America’s social and political turbulence: the April assassination of civil rights leader Rev. Martin Luther King, the ongoing conflict in Vietnam, and a divisive general election. It was time for change. • Ruffin’s successor was Dennis Edwards, a 25-year-old from Birmingham, Alabama, who was living in Detroit and already signed to Motown. He was performing with the Contours at the Howard Theater in Washington, D.C., when he caught the ears of Eddie Kendricks and Otis Williams. “We watched from the wings,” recalled Otis in his autobiography, Temptations, “as he sang lead on Lou Rawls’ hit, ‘Love Is A Hurtin’ Thing.’ Dennis not only had a stirring, soulful voice, but he was a showman with real command of the audience.” The pair made mental notes of this talent, returning to them when the axe fell on Ruffin mid-year.
• A new lead singer meant starting from scratch with new music. Schedule during the first half of 1968 was already packed, including sessions with (for their duets album, released in November) and the TCB network television special, showcasing both groups.
Many of the latter duties were done in Los Angeles in August. The workload “scared” them, confessed Otis Williams. “We had never taken on such a monumental task.” By the fall, their attention turned to recording with producer Norman Whitfield, to shape the group’s sound and personality with Edwards in the mix. • “You can’t expect to last if you don’t make some changes with the times,” declared Otis. He was a fan of the Beatles and Jimi Hendrix, but “what really grabbed me was Sly & the Family Stone’s first hits,” adding that Sly brought forth something “truly fresh.” Whitfield was not so impressed, according to Williams, but clearly gave it further thought. Session logs show that the producer was halfway through the album when he came up with the title track. “Norman must have read my mind,” wrote Williams, “because he said, ‘So you were right.