Free Ebook , by Mark Ribowsky
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, by Mark Ribowsky
Free Ebook , by Mark Ribowsky
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Product details
File Size: 2290 KB
Print Length: 337 pages
Publisher: Wiley; 1 edition (September 14, 2010)
Publication Date: September 14, 2010
Sold by: Amazon Digital Services LLC
Language: English
ASIN: B00DNKYLK4
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Amazon Best Sellers Rank:
#487,933 Paid in Kindle Store (See Top 100 Paid in Kindle Store)
Ain't Too Proud To Beg is mostly a fun read — the style of Ribowsky's writing is quick, energetic and novelistic and there are definitely some great stories told here — but it's riddled with errors, writes off the third phase of their career, and ends up being far from the definitive Temptations story it claims to be.The first problem is that it's poorly researched. There are simple facts he gets gets wrong. A couple of examples include Ribowski saying that Jackie Wilson was in The Drifters before going solo (he never was, he was part of The Dominos) and that David Ruffin wrote "Statue Of A Fool" and first recorded it in the ’50s (though Ruffin claimed to write the song, that was likely the cocaine talking — the song was a #1 country hit in 1969, covered by many, written by noted songwriter Jan Crutchfield and no record exists of Ruffin recording the song prior to 1975). Both of these things are pretty easy to verify and it casts in to doubt a lot of the other claims made in the book. Ribowsky also didn't appear to interview a lot of people for this book. Considering how long the group was together and how many paths were crossed, it's surprising how few voices he uses to tell this story.It's also frustrating how much time the author wastes explaining how the Tempts' biggest songs sound and what they mean. Let's assume that if you're reading this, you've heard their greatest hits and you can probably figure out their lyrics. There's some fantastic writing in those passages — Ribowsky is really good at visceral language to capture a song's feel — but I wish he'd saved that for the songs everyone didn't know in hopes of driving casual fans deeper in to the group's music, rather than wasting our time by describing, no matter how beautifully, what "My Girl" sounds like.My other big frustration with the book is how little time, attention or respect is given to the group's importance and stature among R&B fans. He writes this whole book, it seems, through the filter of white pop fans in the sense that the only measure of success that matters to Ribowsky is The Temptations' presence on pop charts. Often, he'll describe records as being commercial failures while pointing out in the same paragraph that they were huge R&B hits. According to the writer, "Get Ready" is a song that "tanked," despite being a #1 R&B record. No, it wasn't as big a pop hit as some of their other singles, but it's hard to call it a failure as it remains one of their signature songs. He does this throughout the book, and it becomes a glaring issue later in the Tempts' career as he writes off as failures (or glosses over as insignificant) singles and albums that were huge within the R&B community, either as Top Ten records or "turntable hits" on late-night radio. A huge part of what makes The Temptations matter is that they managed to stay relevant and feed their core fans far longer than any other group of their era could manage, landing R&B hits through the 80s. Songs like "Lady Soul," "Treat Her Like A Lady," "I Wonder Who She's Seeing Now," and "Special," were all Top Ten hits yet barely get mentioned in this book,. There's almost no discussion of the great Ali Ollie Woodson, whom many Tempts fans consider the only singer in the group to equal Ruffin. More broadly, there's no sense of what a massive accomplishment it is that the group managed to remain relevant as long as they did. In the end, Ribowsky treats The Temptations as if they've been an oldies act since 1975, treating every album since as a footnote and every hit as some sort of fluke.
This is a detailed book about the Temptations, though the author relies heavily on his interview with Otis Williams and his autobiography. The author has studied music and goes into great technical detail about the creation of each Temptations hit, which gets a bit dry at times. He is biased in his dislike of the talented but troubled David Ruffin and isn't particularly kind to Eddie, Paul or Dennis at times. The author's dislike of Diana Ross is obvious, but I've read other autobiographies and biographies that harbor the same feeling about Ms Ross. She is a controversial figure. There is a definite "male gaze" with the author's writing, as he makes rather sexist or vulgar remarks that only a guy would say. That was rather disconcerting, because in most good biographies, the author adopts a more neutral, sometimes even scholarly tone.For the most part, I do like the detail that the author delves into, and I learned more about each Temptation and other Motown stars that weren't in Otis' autobiography. Reading both will give you a good idea about the Temptations, though again, with more of Otis' slant. Being the only surviving Temptation from the original group, it seems the author feels a strong obligation to defer to him and also needed his cooperation for this book. It would have been interesting if the author could have interviewed other people who knew or worked with the Tempts and integrated their stories more into this book instead of relying so heavily on Mr. Williams. At times this almost felt like an update to Otis' autobiography, though I can also see it as a companion piece to his. As other reviewers pointed out, there are some errors in the book, but it is still an interesting and arresting read for the most part.
Ok so overall this was a great read. Being a long time Tempts fan I knew about most of the things presented in this book but there were some things, such as David Ruffins' childhood and Paul Williams' death that were new to me.Now, my main problem with this book wasn't accuracy but the fact that it's relatively short at just under 300 pages of actual reading material, and that the author focused too much of that material on relatively inconsequential facts such as the exact instrumentation and length of each of the Tempts greatest hits. I mean, who cares if "Papa was a rolling stone" was 12 minutes long and consisted of this or that instrument or groove???!!!I also feel that the author totally missed the point in presenting the Tempts in their proper historical perspective. He never explained why the Tempts were so important to both black as well as pop music and how they've changed music history.I would have liked to know more about David Ruffin the man but here too the book falls short. At times one isn't sure if the author loved or hated Ruffin because he seems to take an almost personal position in discussing Ruffin, going so far as to call him a cowart. This coming form someone who never once even saw David Ruffin in real life, much less knew him well enough to make such a derogatory statement.I do agree with other reviewers that this is very much another Otis Williams product. His is the only real voice of narration throughout the book and his views and memories are too often presented not as just that, but rather as irrefutable fact.I don't regret buying this book but I still can't help but wish that it had been deeper in context and content.
Great story,especially about the behind the scene actions of Ruffin and Gordy.The struggle they went through and the sacrifices that were made....Were they worth it?
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