Laughlin Entertainer: Cover Stories

It's always tough replacing a star. True in sports; true in music. Steve Young had a hard time of it when he first took over the reins of the San Francisco 49ers when Joe Montana left. That is, until he led the team to his own Super Bowl victory.

Slide over to music.

When David Ruffin left The Temptations, he was “the voice” behind the monster hit “My Girl” and lesser hit “Way You Do The Things You Do”-and was the front man for the group. Enter Dennis Edwards in 1968.

At that time, The Temptations were Melvin Franklin, Paul Williams, Otis Williams (no relation to Paul) and Eddie Kendricks. Along with Ruffin they had turned a collaboration with Berry Gordy and Smokey Robinson into a place- Motown-a Detroit-based record company that took the music world by storm; becoming known for their finely-tuned choreography, succinct harmonies and stylish suits. They influenced soul and R&B the same way The Beatles influenced everything else.

So when Edwards joined them, his work was cut out for him. Singing was the least of his problems. He could do that fine. Edward's challenge was fitting in, rounding out the five-part harmony sound and taking things to the next level that Motown was expecting he would take them.

He had come to Motown in search of a solo career and the record label signed him on a retainer, in order to keep him from signing with another label. He was eventually slotted into the rough and rowdy Contours. Meanwhile, Otis Williams and Kendricks, having seen him as he dominated a Contours performance, figured he would be a perfect replacement for Ruffin.

Edwards proved he could not only fill the bill delivering more hit songs like “Can't Get Next to You,” “Papa Was a Rollin' Stone,” and “Ball of Confusion,” but he led the group and Motown to its first Grammy with “Cloud Nine.” Just as Steve Young had done with the Niners, Edwards had got “the monkey off his back,” adding a whole new dimension and a whole new sound in the process.

Over the years, the Temptations released four No. 1 pop hit singles and 14 No. 1 R& B hit singles, and earned 14 gold albums, seven Grammy nominations, and five Grammy awards. They became members of the Rock and Roll Hall of Fame in 1989. But more importantly, they set a bar of style that few groups before or since have been able to meet.

By 1975, however, the group became tired of the social conscious “message” songs, and wanted to return to the love songs they so enjoyed. They left Motown for Atlantic and Jeffrey Bowen took over production, and as a result, A Song For You, would turn out to be one of the group's most satisfying albums, as well as illustrating the versatility of Edwards.

Edwards, always having really wanted a solo career, left the group and cut a solo album for Motown. However, once a Temptation, always a Temptation. Over the years, he has joined, left, and re-joined the group three times.

After talking with friends and former group mates Ruffin and Kendricks at the Temptations Rock and Roll Hall of Fame induction ceremony in 1989, Edwards united with the pair and the trio set off on a historical U.S. tour. The unexpected deaths of Ruffin and Kendricks a few years later left Edwards alone. He has since formed several groups, attempting to use various forms of the name “Temptations” and has battled in and out of court for use of some form of the name.

The form he uses now is “The Temptations Revue featuring Dennis Edwards” and, along with David Sea, Mike Patillo, Ali Woodson and Chris Arnold, they bring the sounds of the Temps back to life with shows like the one at the Tropicana Express.

Dennis Edwards recently talked with the Laughlin entertainer about the Temptations and the Temptations Revue.

A conversation with Dennis Edwards

Q. What's been the biggest surprise after being in the music business for more than 40 years?

A. I'm very blessed. I don't think any of us realized even 30 years ago that people would still be listening to our music and appreciating it after all this time -with most of the members of the group no longer with us. The fact that another generation is going to experience our music is a blessing. To still be at it and people accept your music is an amazing thing. When we came in, we knocked the big band era out of the top spot and we thought we'd be knocked out by the rap pack-but people still like good wholesome music.

Q. Talk about the Temps and Motown scene when you arrived.

A. They were like gods. David was the lead singer of lead singers, and I was supposed to replace him and change the sound. No pressure, right? When “Cloud Nine,” which was our first hit, won the first Grammy for Motown I was very proud of that. I didn't realize that was their first Grammy with all of their hits. Then with our second hit, “Papa Was a Rollin' Stone,” we were the first Motown group that broke to the national level. I was very proud of that, too.

When I first got there, I also had to learn to dance. I thought, I'm a singer from the ghetto, I'm not a dancer. But I had to learn the steps. I had to dance and I had to be a machine-and I had to learn it by that night.

When I look back I realize just how great a group it was and that way of music is gone. You don't realize at the time the magnitude of the music you're making. It's music you enjoy and you want people to like it.

I thank Motown for a lot of people had a hand in our success. You see, Motown had a system for their recording artists they called “‘artist development”. If you had a good record out, they sent you across the street and sit in a classroom where you would learn how to act. They'd tell us, ‘we know you can perform and you know how to sing, now you need to know how to act like a star.' A lot of young artists need that today. They taught us how to act in public-even how to walk through an airport-and reminded us that we're representatives of the record company and don't be completely crazy. That was one of the best things about it and one of the biggest differences with record companies today.

Q. What was it like replacing David Ruffin?

A. I was under tremendous pressure. A lot of people don't know the whole story about that. David Ruffin was one of my best friends. I was singing in a club called Mo's Lounge and he would sometimes come down and sing with me on stage. Before anyone else, he told me I was replacing him. He was about to leave and he came knocking on my door at 3 a.m. I woke up and I said, ‘who is it?' He said, ‘it's me, David,' I'm leaving the group and you're going to replace me.' I never even imagined such a thing. If I'd had my ‘druthers,' I would have made it another way, or made it on my own. But things happen and I became a part of it.

I got a chance during the reunion to fulfill my dream of singing with David, who was my idol. That was one of the special moments in my life.

Q. The Temptations enjoyed a lot of success with you in the group? Do you think you made the difference? Would there have still have been a Temptations if you hadn't stepped up to the plate?

A. I don't think so, but basically it was still a group-even when I was there. It takes all five of us to make it work. To get that magical event, it takes all of us. It's a group-but we all sing lead, we all are an integral part. I front the group, but what I do is no better or worse than anyone else in the group. It all has to work together or it doesn't work at all.

Q. Grammy Awards; 1989 induction into the Rock and Roll Hall of Fame; 1999 induction into the Alabama Hall of Fame; sales of over 100 million recordings; and sold out tours-does it bother you that you had to fight in court to use some form of the Temptations name?

A. Me and Otis (Williams), we've had our differences but this was basically my management company and his management company. We met in L.A. and we asked ourselves, ‘why are we fighting?' He helped me get where I'm at so I asked myself, ‘why are we fighting?' The industry loves to keep a fight going. He came up with me using the name “Temptations Revue”. We're the best of friends, we love each other. We've loved each other for 30 years and sometimes we get into a fight-but it's not so much our fight as it is the fight of the people around us. My attorneys kept saying, ‘don't talk to him,' and I'm asking, ‘why shouldn't I talk to him? Nobody wins with lawyers. He helped me get where I'm at, so why are we fighting?

Q. Ever thought about performing together?

A. I would love to do a tour with Otis. I take that as something that if it happens, it happens. To me, I'm a Temptation at heart. The public would love to see Otis and me on stage. We're the last two survivors. We've started to call each other. When my mother recently died, he sent flowers. I wish the best for him and he wishes the best for me. I know this is going to be a year of love.

Q. One thing is clear, you are a survivor. Have you thought about writing a book?

A. I'm looking for a publisher. I could sit down and do it now. In my mind, I could write a book, but my chapter's not over yet. I'm still enjoying it. How can I not look back at the dream I had 40 years ago and see that I'm still doing what I love to do and I'm making money at it and not feel blessed? I'm still waiting on them to tell me to go get a job. Every time I call up the agent and there's no job, I'm thinking, man, this is it.

Q. Talk about the show you're bringing to the Tropicana Express?

A. If you remember the Temptations like they used to be, you're gonna love this show. We do the classic hits, new classics such as our version of “God Bless America” for our soldiers. We do “Cloud 9,” “I Can't Get Next to You,” “Ball of Confusion,” “Psychedelic Shack,” “Papa Was a Rolling Stone,” “Masterpiece”-we're going to do as many songs as we can.

We're coming to Laughlin with a tremendous show. Chris Arnold has a tremendous falsetto. There's also David Sea who does justice to David Ruffin's part. If you close your eyes, you'll think it's David Ruffin you hear. Mike Patillo has the most difficult vocals-he has that deep Melvin Franklin growl. It's difficult to cover the bass and have that quality-but we can do it because we have Mike-who's from Detroit, by the way.

We also have Ali Woodson who does a tremendous job on songs like “Treat Her Like a Lady.”

Young people ask me if we still wear tuxedos and, if so, why? Yes, we still wear tuxes-we still all have that classy thing going. I think there are a few people out there who like to see a classy show. We still do the choreography-we may not kick as high, but we still kick.

Q. Ever think of retiring?

A. Sometimes, with the way traveling is these days, it gets a little tiring and difficult with the snow and the weather. But we have so much love and appreciation that we push on. The fans have grown up listening to our music and they bring their kids and their kids' kids. It's a beautiful thing to see the span of ages at a Temptations Revue concert. It touches our lives and as long as I can do this, I'm gonna do this.

Q. Are you backed by a band for the Trop show?

A. We're backed by a whole band, a 10-piece orchestra, just like the old days. We have five horns, two keyboards, a complete orchestra, and a director to give the music that big band sound.

THE

TEMPTATIONS REVUE featuring

DENNIS EDWARDS

Saturday, January 19

at 8 p.m.

Pavilion Showroom

in the

TROPICANA EXPRESS

Tickets are $25, $35 VIP-$2 off all ticket prices when Players Club members of Tropicana Express and/or River Palms show their cards at

purchase.

For tickets, see Players Club booth at the south end of the Tropicana Express or call

1-800-243-6846 or

702-298-4200