![]() ![]() ![]() #WTFact Videos In #WTFact Britannica shares some of the most bizarre facts we can find.Demystified Videos In Demystified, Britannica has all the answers to your burning questions.Britannica Explains In these videos, Britannica explains a variety of topics and answers frequently asked questions.Britannica Classics Check out these retro videos from Encyclopedia Britannica’s archives.But from Cloud Nine onwards, Motown were back at the forefront of American popular music. The final transformation was to follow on the next two albums, Psychedelic Shack and All Directions, where Whitfield's productions continued to stretch them in all kinds of new directions. Thus, Cloud Nine was a halfway house in the Temptations' metamorphosis into true psychedelic pioneers. ![]() On the original release's side two the band did return to more familiar, three-minute fare such as I Need You Lovin'. Edwards vocals also had the grit and righteous indignation that was perfectly suited to more gritty, challenging numbers. Then there was Runaway Child, Running Wild a NINE-minute journey through contemporary issues, ghetto politics and studio mastery. Their version of I Heard It Through The Grapevine signalled the old label morphing into the new. For starters the title track began with some of the most warped sounds ever to grace a Motown release up to that point. The first three numbers broke the mold that had kept the band confined as a dance-routined and conformist vocal troupe. But when he saw the light it was with spectacular results. In fact it was the band's Otis Williams who first put the seed of the idea into Whitfield's mind. The first foray, and arguably the album that saved Motown's increasingly outmoded ass, was Cloud Nine. What followed were four years of peerless social commentary, groundbreaking arrangements and far out funky soul. Yet in a wise volte face he decided that, with Dennis Edwards replacing David Ruffin as the main voice of the group, he could offer Gordy a new vision of 'psychedelic soul'. Initially the Temptations' producer (and, with Barrett Strong half of the band's song writing team), Norman Whitfield, had poured disdain on the love and peace offered by the Family Stone. In Detroit it must have seemed like another universe to the suited and immaculate pop-by-numbers brigade. In soul circles, only Sly Stone (who had the distinct advantage of being a San Franciscan DJ anyway) had heeded the call of the flower children. More importantly, it effected all strata of society, even the less radical homeland that bought Motown's singles. Psychedelia, the freeform antithesis of Hitsville's precise tempos and lyrically safe methodology, was now the hip currency of young America. By 1968 Berry Gordy's seemingly insurmountable empire was under attack. ![]()
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