"Stevie Wonder was a little jokester. He was crazy about Florence of the Supremes. He would ask, 'What's Florence got on today?' I'd say, 'She's got some beautiful red shoes with a red and white polka-dot dress and a white ribbon in her hair.' He'd touch her dress and say, 'Ooh, Florence, I love that polka-dot dress you got on. That red dress is killin' me.'" --Abdul "Duke" Fakir of the Four Tops
Cyrus Andrews, Redferns / Retna
"The Four Tops were in this talent contest. And they were incredible. I wasn't the A&R director; there was no Motown at this time. I was just at the show. I saw those guys and I said, 'Man, these guys are gonna be incredible.' And at that point I made a decision that I was gonna get into the entertainment business." --William "Mickey" Stevenson, former Motown A&R director
David Redfern, Redferns / Retna
"The Supremes were like our baby sisters. Maybe not like a sister, but you know what I mean. They became some beautiful ladies." --Abdul "Duke" Fakir of the Four Tops
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"Marvin Gaye was a joy. Being an introvert, he only opened up when he was on that microphone or working. Other than that, he was closed down." --William "Mickey" Stevenson, former Motown A&R director
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"We've always been great, great friends with the Temptations. We used to play basketball a lot together with them. We used to play golf with Smokey Robinson and the Miracles. It was like we were in college and we were all in this wonderful fraternity -- we just had different classes." --Abdul "Duke" Fakir of the Four Tops
Kings Collection / Retna
"We would help each other in the studio. I remember I was late for one session and Eddie Kendricks of the Temptations [above] did my part until I got there. And I can't remember what song it was but the Temptations needed a tenor and I came in a did a few parts until one came in." --Abdul "Duke" Fakir of the Four Tops
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"Smokey Robinson was one of the most complete producer/songwriters that we've ever worked with. When Smokey would bring us a song he would have the melody, the lyrics, the structure. He would leave room for us to inject whatever harmonic parts we wanted. He was a joy to work with. There wasn't no drama, no traumatic stuff." --Otis Williams of the Temptations
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"We saw the Jackson 5 when they first signed to Motown, and they looked at us like we were some kind of a deity. They said, 'Oh, wow, the Temptations!' Michael was a little boy who could sing his little ass off; when he did 'Who's Loving You?' he did a riff that went off into a little minor bluesy kind of thing. I go, 'Now, wait a minute, he's too young to be riffin' like that!'" --Otis Williams of the Temptations
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"I say, 'Clarence [Paul, Motown producer], who is he?' He says, 'The guy plays congas and he plays harmonica. One more thing I gotta tell you, though -- he's blind.' I say, 'You got to be kidding. You got a blind kid? Do you know what would happen if he had an accident around here?'" --William "Mickey" Stevenson, former Motown A&R director
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"At the beginning, Berry Gordy just wanted hits that were constructed right, with great melody and wonderful lyrics -- so it wasn't a thing like, 'We'll develop the Motown sound.' It was, 'Let's get some hit records that everybody can enjoy.'" --Otis Williams of the Temptations
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