“SHAKE ME WAKE ME (WHEN IT’S OVER)” (INSTRUMENTAL) * Four Tops * 1966
Category: Four Tops
THE MAGIC BEHIND THE DETROIT MOTOWN SOUND! ’64
“BABY I NEED YOUR LOVIN’ ” (INSTRUMENTAL) * The Four Tops * 1964
FOUR TOPS’ ’67 CLUB SCENE . . . SEPTEMBER 23, 1967
From the MCRFB news archive: 1967
Room At The Top, Motown’s Own Four Tops Customizing Song Selections For Nightclub Acts
Hollywood — The Four Tops, who closed their first booking at the Cocoanut Grove with a live LP recording, have learned to custom-tailor their repertoire to suit the level of the room audience. Four years ago the Detroit quartet was still hustling around the “chitlin’ circuit.”
Today, the male vocalists are a top Motown act and a new find for such rooms as the Grove and New York’s Copa, Washington D.C.’s Shoreham, Cherry Hill, New Jersey’s Latin Casino, and Hollywood, Miami’s own Diplomat — all forthcoming bookings.
On recordings, the quartet sings the pop love songs of Eddie Holland-Brian Holland and Lamont Dozier. On stage, they dip into the Broadway and film repertoire for adult-oriented tunes which fit the Tops’ pleasant harmonies.
“We try to keep the composer’s beauty in the material,” explains Renaldo Benson, who along with Levi Stubbs, Jr., Lawrence Payton, and Abdul (Duke) Fakir formed the group thirteen-years ago.
During their Grove engagement the quartet included an Academy Award medley as its customizing salute to the film-oriented audience. Wade Marcus, the group’s musical director, along with Payton produced the live LP, for which Motown’s chief engineer was flown here for the special event.
Benson, the “philosopher” in the group, feels that as a result of the Grove appearance, the group sought a wider musical scope in selections of other songs they were to perform. “For the last four years we’ve been playing rock concerts where sounds are really not that important. Here, we have to truly work to stimulate the audience.” Benson says they never “jive the audience” because they’ve been through the scuffling bit and appreciate the opportunity to work in the big time.
The Tops’ troupe numbers nine (including rhythm section) which involves a healthy weekly pay, but they are earning substantially more than their “chitlin’ circuits” salaries of from $1,000 to $1,500.
Two months ago the artists worked the Whisky A Go-Go on the Sunset Strip, where their repertoire was more tuned to their Motown singles hits. Their booking into the downtown prestige room here in Los Angeles was so soon after the Whiskey exposure, that it was a surprising bit of scheduling for the Tops.
When they play for colleges, the students ask for the single hits. This fall the quartet is planning a new act for the Ivy circuit, which also considerably pays better than the “chitlin'” clubs they frequented just five-years earlier.
The Tops now plan to begin producing records, which is a characteristic of the Motown operation where executives are artists, and where writers are the artists as well. END
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(Information and news source: Billboard; September 23, 1967)
