Essential Tops

What, you might ask, does this have to do with @ngela Winbush? Well, it's pretty simple: if we apply the dictionary definition of the word to the extraordinary Ms. Winbush, we can rightfully say that she is indeed a diva of the highest order. Forget about temperament, attitude or manner: @ngela's consummate vocal skills place her head and shouldersP> No need for an official declaration or ceremony, as it's been clear for a long time: the Dramatics are one itual Black pride messages with Curtis Mayfield at the helm, to their '70s triumphs and beyond, the Impressions possess an awe-inspiring catalog. This 20-song collection - spanning from 1958 to 1975 - represents the Impressions at their most indelible.

Childhood friends Jerry Butler and Curtis Mayfield spearheaded the Impressions, having sung and traveled together in Chicago with the Northern Jubilee singers and in Curtis' grandmother Reverend Anna-Bell Mayfield's Traveling Soul Spiritual Church. Outside of gospel, Mayfield, based on Chicago's West Side, sang with the Alphatones. When his family moved to the North Side, rehearsing became increasingly strained. Butler convinced a 15-year-old Mayfield to join his group, the Roosters (with Sam Gooden and brothers Arthur and Richard Brooks), because he felt they needed someone who could play guitar and help hone their harmonies. Mayfield dropped out of school to do so and the Roosters became the Impressions when that name was chosen from several in a hat.

After a mediocre "Baby I Need Your Loving" soundalike "Without The One You Love" (not included here) stiffed, the Tops rebounded in 1965 with the majestic ballad "Ask The Lonely," their first number one smash "I Can't Help Myself" and "It's The Same Old Song" (and truly the latter was, a melodic retread of "I Can't Help Myself"). They reached their commercial peak in late 1966 to early 1967 with the powerful "Reach Out ("I'll Be There)," "Standing In The Shadows Of Love," and "Bernadette." In late 1967, however, Holland-Dozier-Holland abruptly left Motown in a dispute over financial compensation. This prompted the label to release year-old remakes of "Walk Away Renee" and "If I Were A Carpenter" as follow-up Tops' singles. They are proof that the Tops could make a hit out of practically anything.

In 1968 and 1969, other Motown writer-producers like Ivy Jo Hunter, Johnny Bristol, and Norman Whitfield attempted to fill the void left by Holland-Dozier-Holland's exit. None of their work with the Tops, however, penetrated the pop or r & b top 20 (and none of it is included here). In 1970, Frank Wilson took over as the Tops' producer for the landmark Still Waters concept album. Wilson ditched the Andantes from the background and put more emphasis on the Tops harmonies. As evidenced by the hits "It's All In the Game" and "Still Water (Love)," the Tops had risen to new melodic heights. They were followed by more of Frank Wilson's well-crafted singles like the enclosed "(It's The Way) Nature Planned It."

Unfortunately these 1971-1972 follow-ups received little promotional support from Motown and struggled on the charts. Frustrated, the Tops left the label in late 1972 and signed with ABC subsidiary Dunhill Records. They immediately hit with the urban message song "Keeper Of The Castle," the Shaft in Africa theme "Are You Man Enough," and the multi-format symphonic smash "Ain't No Woman (Like The One I've Got)." With the countrified "Sweet Understand Love" and their funkiest recording ever "One Chain Don't Make No Prison," the Tops maintained the high quality, but their final ABC/Dunhill hits in 1976/77(the disco "Catfish," the reggae in molasses "Midnight Flower") were duds.

In 1981 the Tops signed with Casablanca and released two of their strongest albums ever. They are represented by the retro smash "When She Was My Girl" and the wedding staple "I Believe In You And Me" (Levi's performance buries Whitney Houston's hit version). Interspersed between these two gems is "I Just Can't Walk Away" a stirring ballad from their shortlived return to Motown in 1983. The Tops also recorded many lesser hits and great album tracks over the years (most of which can be found on their box set FOUREVER). But if you only want the big hits, this 24 track collection is the best single disc set available.


The Classic Four Tops   November 7, 2002
 4 out of 5 found this review helpful

The Four Tops were perharps Motown's finest all-male acts. Their work on the label was consistently excellent and though after their departure from Motown their work lacked the commecial success they'd previously enjoyed, their work was still distinct, made instantly recognisable by Levi Stubb's explosive and dynamic vocal expertise. The Essential Collection offers the majority of their familiar hits though for some odd reason, the chilly, atmospheric classic, 7 Rooms Of Gloom is not included. Their first really major hit came with the infectious, I Can't Help Myself where Stubb's inimitable and persuasive voice is just pure soul. Far more ambitious however was the haunting, Reach Out I'll Be There. Stubb's voice cuts effectivley through the multi layered arrangements of flutes, oboes and tambourines. This compelling number became another U.S chart topper for The Four Tops and became one of the key landmarks in their career. After this the formular continued to bubble consistently with excellent soul classics such as the fabulous, Standing In The Shadows Of Love, the yearning Bernadette, beautifully delivered ballads like Walk Away Renee and It's All In The Game becoming huge sellers on both sides of the Atlantic. The quality in this collection never once dwindles making for consistent and compelling listening. These were one of Motown's major, legendary acts and their work remains unique and unparalled. Highly recommended!