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The Four Tops began life in 1953 (some accounts say 1954), when all of the members were attending Detroit-area high schools. Levi Stubbs and Abdul "Duke" Fakir went to Pershing, and met Northern students Renaldo "Obie" Benson and Lawrence Payton at a friend's birthday party, where the quartet members first sang together. Sensing an immediate chemistry, they began rehearsing together and dubbed themselves the Four Aims. Payton's cousin Roquel Davis, a budding songwriter who sometimes sang with the group during its early days, helped them get an audition with Chess Records in 1956. Although Chess was more interested in Davis, who went on to become Berry Gordy's songwriting partner, they also signed the Four Aims, who became the Four Tops to avoid confusion with the Ames Brothers. The Four Tops' lone Chess single, "Kiss Me Baby," was an unequivocal flop, and the group moved on to similarly brief stints at Red Top and Riverside. They signed with Columbia in 1960 and were steered in a more upscale supper-club direction, singing jazz and pop standards. This too failed to break them, although they did tour with Billy Eckstine during this period. In 1963, the Four Tops signed with longtime friend Berry Gordy's new label, specifically the jazz-oriented Workshop subsidiary. They completed a debut LP, to be called Breaking Through, but Gordy scrapped it and switched their style back to R&B, placing them on Motown with the Holland-Dozier-Holland songwriting team. After a full decade in existence, the Four Tops finally notched their first hit in 1964 with "Baby I Need Your Loving," which just missed the pop Top Ten. Early 1965 brought the follow-up ballad hit "Ask the Lonely," and from then on there was no stopping them. "I Can't Help Myself (Sugar Pie, Honey Bunch)" went all the way to number one that spring, and the follow-up "It's the Same Old Song" reached the Top Five. The hits continued into 1966, with "Something About You" "Shake Me, Wake Me (When It's Over)," and "Loving You Is Sweeter Than Ever" all coming in succession. The fall of 1966 brought the group's masterpiece in the form of the virtual soul symphony "Reach Out, I'll Be There"; not only did it become their second number one pop hit, it also wound up ranking as the creative peak of the group's career and one of Motown's finest singles ever. During this period, the Tops also earned a reputation as one of Motown's best live acts, having previously honed their performances for years before hitting the big time. The Four Tops kicked off 1967 with the dramatic Top Ten smash "Standing in the Shadows of Love," which was followed by the Top Five "Bernadette." "7-Rooms of Gloom" and "You Keep Running Away" reached the Top 20, but toward the end of the year, Holland-Dozier-Holland left Motown over a financial dispute, which didn't bode well for the Four Tops' impressive hit streak. Their next two hits, 1968's "Walk Away Renee" and "If I Were a Carpenter," were both covers of well-known recent songs (by the Left Banke and Tim Hardin, respectively), and while both made the Top 20, they heralded a rough couple of years when top-drawer material was in short supply. They enjoyed a resurgence in 1970 under producer Frank Wilson, who helmed a hit cover of the Tommy Edwards pop standard "It's All in the Game" and a ballad co-written by Smokey Robinson, "Still Water (Love)." The Tops also recorded with the post-Diana Ross Supremes, scoring a duet hit with a cover of "River Deep, Mountain High" in 1971. When Motown moved its headquarters to Los Angeles in 1972, the Four Tops parted ways with the company, choosing to remain in their hometown of Detroit. They signed with ABC-Dunhill and were teamed with producers/songwriters Dennis Lambert and Brian Potter, who did their best to re-create the group's trademark Motown sound. The immediate result was "Keeper of the Castle," the Four Tops' first Top Ten hit in several years. They followed it in early 1973 with "Ain't No Woman (Like the One I've Got)," a gold-selling smash that proved to be their final Top Five pop hit. That year they also recorded the theme song to the film Shaft in Africa, "Are You Man Enough." Several more R&B chart hits followed over the next few years, with the last being 1976's "Catfish"; after a final ABC album in 1978, the Tops largely disappeared from sight before resurfacing on Casablanca in 1981.
~ Steve Huey, Rovi