George HaffendenIn this ‘Rare Cut’ we look back at a gem from the Four Tops’ excellent Main Street People album; a song that unusually for the Tops does not feature the lead vocals of Levi Stubbs, rather Lawrence Payton steps up the mark to deliver a beautiful ballad worthy of rediscovery.
Unlike many of the classic acts who left Motown for other record labels (think Martha Reeves, The Temptations’ brief stint at Atlantic Records; even Diana Ross to some extent), the Four Tops recorded and released some excellent material on various record labels after they left Motown after Berry Gordy relocated the company from Detroit from Los Angeles. The Tops were one of several acts, such as Martha Reeves, who refused to relocate. They were signed to ABC/Dunhill Records and released their first post-Motown album Keeper Of The Castle that featured the brilliant title track, as well as the beautiful hit song ‘Ain’t No Woman (Like The One I’ve Got)’.
The album proved that even with Motown’s resources the group could still create songs that were artistically great and sold well. Their follow up album came out 1973 and was entitled Main Street People and has become a particular favourite among dedicated and long-time Tops fans. The album featured several fairly big songs: ‘Are You Man Enough’, which was featured on the soundtrack of the sequel to the classic Blaxploitation film Shaft, as well as the particularly groovy ‘I Just Can’t Get You Out Of My Mind’, which sees the Tops embrace some of the Philly Soul elements. The album features as well some brilliant musicians, including on bass Wilton Felder and Larry Carlton from The Crusaders, and Gregory Porter’s keyboardist Chip Crawford on keys. The album also reveals Tops members Lawrence Payton and Renaldo ‘Obie’ Benson to be fairly decent songwriters as well as singers.
One of the best songs on the album is however ‘One Woman Man’, a song written by Len Perry and Phil Townsend, and arranged by Gil Askey, who was one of the architects of the Motown sound. The song features a luscious orchestral instrumentation as well as a brilliant saxophone solo, and funky bass playing from Felder. However, what is most impressive is that it is Payton who delivers the lead vocal not Levi Stubbs. On all the Tops hit songs it is Stubbs’s gruff lead vocals that are heard, with Payton, Benson and Abdul ‘Duke’ Fakir who provide the background vocals. And it’s easy to understand why: Levi Stubbs was one of the greatest vocalists ever to record, in any musical genre.
Yet on ‘One Woman Man’ Lawrence Payton really shines. His voice is softer than Stubbs making it even more interesting to hear him handle the lead. In fact it’s almost a Payton solo single; indeed, he performed the song on Soul Train alone and was billed under this own name. Possibly, we’re not sure; this could have been earmarked for a Payton solo release. Regardless of that possibility, it is one fine song that has got a bit lost in the Tops’ extensive and impressive back catalogue.
As a result, it raises the question: why did none of the other Tops handle more leads? On ‘Ain’t No Woman (Like The One I’ve Got)’ Stubbs handles the main vocal, but each of the three other Tops gets a solo line in the chorus and it works extremely well. Their Motown label-mates The Temptations were famous for each singer in the group being able to sing lead (even if only three frequently did; Melvin Franklin had a few solos with his bass voice, as did Otis Williams but both were, and in Williams case remains, better suited to harmony and background), and different Temptations handled different songs depending on how the producer wanted the song to be received. The question is therefore, why did the Four Tops not rotate lead singers?
Well, probably because Levi Stubbs’ voice was just incredible, and it helped sell millions of records. Today, Duke Fakir has a solo in the current Four Tops show, a cover of ‘My Way’, but admits he isn’t a soloist. Again Benson probably wouldn’t have made for a great soloist; and while Payton does a fine job here, his voice wouldn’t have suited the pounding Motown classics such as ‘Reach Out I’ll Be There’ or ‘Standing In The Shadows of Love’. Moreover, it is perhaps that, unlike The Temptations, the Four Tops were a true unit were egos were put aside for the love of performing and realising that Stubbs had the best voice, and that the others were impressive harmonisers.
Regardless of such discussion and speculation, ‘One Woman Man’ is an interesting rare cut from the Four Tops recording history. The song is delightful ballad, and a real treat for any Four Tops fan, and one that you should definitely check out below.