George HaffendenToday marks the 70th birthday of soul singer G.C. Cameron, famous for singing lead in the early career of The Spinners, as well as with The Temptations in the mid-2000s. We look back at his career to mark this special occasion.
G.C. Cameron is arguably one of the most underrated and underappreciated soul singers from the classic soul period. Born in Jackson, Mississippi in 1945, Cameron was one of ten children; like many African-American families the Camerons relocated to Detroit, Michigan in 1955 in search of a better life. That better life was put on hold for G.C. when he was drafted into the U.S. Army in the sixties and was sent to Vietnam, but was demobbed in 1967 and returned to the Motor City. His big break came that same year when he joined The Spinners (or as they were/are known in the UK, The Detroit Spinners). The group had been singed to Harvey Fuqua’s Tri-Phi Records, but Fuqua had sold his label to Motown Records, and The Spinners were incorporated into the Motown family. Yet, with other male groups such as the Four Tops and The Temptations riding high, The Spinners struggled to get a look in. Whilst they remained a top live act, they did not have the material that their Motown colleagues possessed.
Their luck would change in 1970 when they group recorded the Stevie Wonder and his then-wife Syreeta Wright composition ‘It’s A Shame’. Cameron handled the lead vocals, demonstrating his incredible vocal range and ability, singing tenor and falsetto beautifully on the song. Despite this success The Spinners left Motown in 1972 for Atlantic Records, but Cameron, who had started a relationship with Gwen Gordy, the sister of Motown Records founder Berry Gordy, decided to stay at Motown and try and forge out a solo career. The Spinners would have incredible success with Cameron’s replacement Philippe Wynne, warmly embracing the new Philly Soul sound of the seventies.
Cameron meanwhile struggled to find acclaim as a solo artist, but nonetheless put out some decent records, particularly ‘It’s So Hard To Say Goodbye to Yesterday’ from the 1975 soundtrack to the film Cooley High, which would later be covered by Boyz II Men. He continued to release several solo records during this time, building his reputation as an incredibly versatile singer. He also recorded duets with Syreeta Wright in the seventies, on the album Rich Love, Poor Love released in 1977, although sadly this album has long been out of issue.
By the turn of the millennium Cameron had rejoined The Spinners, but this would only last two years, and left again in 2002. A year earlier he released a nice solo album entitled Shadows, which is thankfully available digitally today. Then a year later in 2003 Otis Williams of The Temptations asked Cameron to fill in for the recently departed/sacked Barrington ‘Bo’ Henderson; Cameron obliged, although in a radio interview with New York’s Maurice Watts claimed that he only agreed until Williams and the rest of The Temptations could find a long-term replacement. Depsite this, Cameron remained with the group for four years, recording the impressive 2004 album Legacy, as well as on the not so impressive album Reflections, an album of so-so Motown covers. In 2007 Cameron took the decision to leave The Temptations to focus on his solo career, releasing an album entitled Ecstasy in 2009, as well as performing with The G.C. Cameron Review.
Sadly we haven’t heard much from G.C. Cameron in recent years bar the odd performance here and there, but his contribution to the Spinners, The Temptations, and to soul more generally remains well loved by those who have followed his interesting musical career. In honour of this birthday, we’ve picked out some of our favourite G.C. Cameron moments.
Act Like a Shotgun, 1971
When The Spinners left for Atlantic in 1972, Cameron stayed put, and even followed to Los Angeles when Berry Gordy, founder of Motown, moved the company’s headquarters to the city in search of film opportunities for his stars, primarily Diana Ross. But before Motown relocated, they had a subsidiary label entitled MoWest, which had on its roster Franki Valli (who would only score the Northern Soul favourite ‘The Night’ before leaving), Syreeta, and Thelma Houston. The artists who wanted were later signed to Motown proper, others such as Valli left. The label wasn’t particularly successful but some good music was recorded, including Cameron’s ‘Act Like a Shotgun’, a seeming reply to Junior Walker’s ‘Shotgun’ from the previous decade at Motown. It finds Cameron and MoWest adjusting to the seventies soul pioneered by Willie Mitchel in Memphis and Gamble, Huff and Bell in Philadelphia, and makes for an interesting listen. Interestingly the single was executive produced by Berry Gordy himself, potentially a reflection of his desire to see Motown established on the West Coast.
Syreeta & G.C. Cameron – I Wanna Be By Your Side, Stevie Wonder Presents Syreeta 1974
Syreeta Wright possed one of the most beautiful voices on Motown, up there with Tammi Terrell and Gladys Knight. Yet, potentially because of Berry Gordy’s interests both financially and personally with Diana Ross, no other female talent reached the success at Motown that she did. Whilst several male artists reached such success, Stevie, Marvin and Smokey for instance, only Ross did amongst her female colleagues. That said, Syreeta released some incredible soul during her stint at Motown, and in an attempt to cash in on her husband’s success, Stevie Wonder’s name appears first on her best album. Indeed, the album was this collaboration between the two, with Stevie chipping in vocals here and there. One of the best songs on the long album is however her duet with G.C. Cameron. Despite their differences in vocal sounds, the duet works: Syreeta’s sweet, feminine voice contrasts nicely with Cameron’s rather gruff style. This is truly one of the lost Motown gems, demonstrating that both Syreeta and Cameron should have been bigger than they were.
Live for Love, 1980
Re-released in 2014 on vinyl in the US for Record Store Day, this is a brilliant late-era disco tune that sees Cameron riding a Philly Soul style groove. The production is luscious with the horn and string arrangement, and Cameron’s vocal is smooth and sophisticated. Interestingly the song is produced by his old mentor and colleague Harvey Fuqua, the man who first signed the Spinners. The song was made available digitally on the recent compilation album Soul Togetherness 2014.
Nights Like This In Georgia, Give Me Your Love 1983
G.C. Cameron has the ability of being both beautiful and heart-breaking at the same time, and this neglected gem demonstrates that. Largely forgotten until its inclusion on a compilation entitled The Blues Is Alright For Hurtin’ a few years back, this is stunning from Cameron, once again showing that he was one of the most versatile soul singers. The song itself appears to be a reply to the classic ‘Rainy Night In Georgia’, which finds Cameron singing his heart out, wondering what his girl is doing in Georgia after she ‘left him behind’. It’s raw, powerful, soulful emotion from Cameron, and is arguably one of his finest recordings.
Shadows, Shadows 2001
Released half-way through his second stint with the Spinners, Cameron’s first solo album for over a decade was pretty good. Two versions of the title song exist, the first being slightly superior in that the production and mixing really highlights the fragility of Cameron’s voice, as well as again demonstrating his incredible range. By this point Cameron’s voice had begun to deepen slightly since his days with the Spinners the first time around, but it suits him well, and he sounds lovely on this selection.
The Temptations – Something Special, Legacy 2004
The early 2000s were a tumultuous period for The Temptations. By now Otis Williams was the sole surviving original member; Dennis Edwards, David Ruffin’s replacement, was touring successfully with another ex-Temptation Ali Woodson, and other ex-members such as Richard Street, Damon Harris and Glenn Leonard were also all performing their own tributes. Inside the official group things were taking a nosedive: despite success with the double platinum album Phoenix Rising and Grammy-winning Ear-Resistable the group had stalled with 2001’s Awesome. Harry McGilberry, then bass-vocalist for the group, had been sacked for drug abuse, and lead singer Barrington Henderson was out the door as well. Williams sought out Cameron as a stabilising force, having already hired long-time vocalist with The Spaniels Joe Herndon on bass vocals (who had also performed with ex-Temptation Glenn Leonard).
The new line up featured Williams, Cameron, Henderson, the brilliant Terry Weeks, and long-time member Ron Tyson, and released an album Legacy in 2004 which is actually pretty good. One of the best songs on the album is this, ‘Something Special’, which opens with Herndon’s delightful bass voice telling his wife of his plans for the night. Then Cameron gets to work, demonstrating his suitability for the position of lead singer of The Temptations nicely. In fact, the whole album demonstrated that, and it also demonstrated that Cameron could probably sing all the parts of the Temptations from bass to falsetto, with Ron Tyson’s sweet tenor and falsetto being pushed aside in favour of Cameron’s range. This would be the only album of original material Cameron would record with The Temptations, and it marks some of his finest singing.
People Get Ready, Ecstasy 2009
From his last solo album, this cover of The Impressions classic and civil rights anthem is pretty nice overall. Despite the production quality being a little synthesised and programmed (particularly the synth strings, never a good option) Cameron’s vocal is wonderful. It sees him switch between baritone, tenor and falsetto at the drop of a hat, and it is stunning to hear. The whole album follows a similar trend; whilst the production quality is somewhat lacking, it is bearable to hear this soul icon do what he does best, and sing.