The name Richard Street is synonymous with the motor city music scene, dipping way back in the day to Detroit doo-woppers The Distants. Formed in 1955, the group also included Otis Williams and Street's cousin Melvin Franklin, all of whom would eventually sing in The Temptations. Come 1959, the hopeful formed The Monitors and was hired four years later by Barry Gordy as a quality control producer for Motown Records. As artists like The Miracles, The Supremes, The Jackson Five and Marvin Gaye sprung up, Street was right by their side and working with the movement first hand. He eventually entered the front lines himself when The Temptations underwent a line-up overhaul in the early 1970s, which started with the departures of David Ruffin and Eddie Kendricks for solo careers, along with Paul Williams as he battled alcoholism. With Street's previous experience at the label and the group being at the crossroads of a decade switch, The Temptations earned a psychedelic soul facelift at his expense and found extremely successful footing throughout the decade's remainder.

Performance Review From: “Concert Livewire”

Artist: Richard Street lead singer of The Temptations 1971-'95

Venue: The Arcada Theatre, St. Charles, IL

Date: 10/21/05

When Richard Street showed up at St. Charles' gorgeously renovated Arcada Theatre with four slightly younger backers, he not only radiated the vibe of a legend, but followed up with a remarkable performance that was literally like watching history unfold before attendees' very eyes. Rather than coming across like a tired oldies act or an indifferent elder statesmen, Street and his crew delivered with vigor and vivaciousness, retracing the most prominent steps of his twenty plus years leading The Temptations, a handful of that group's early hits and other Motown memories. The quintet got the crowd standing from the get go thanks to the sunny classic "The Way You Do the Things You Do," followed by an absolutely riveting version of "Papa Was a Rollin' Stone." Hearing Street's signature voice with the piecing bass ripple blew away more modern versions by the likes of Queen or Seal and demonstrated why the originator remains superior.

The five piece-backing band were competitive and cohesive throughout the equally meaty "Ball of Confusion (That's What the World Is Today)." Again, this selection was a textbook example of The Temptations' reinvention, which was also underscored by a period of more socially conscious lyrics. Yet come the snappy swing of "Just My Imagination (Running Away With Me") the theme of blissful love took center stage and reminded all of the tracks' rarely rivaled endurance.

The mid-set portion also paved the way for some storytelling, including several delectable tidbits about the artists with whom this singer was associated. "I had Stevie Wonder on my knee when he was nine and I had Michael Jackson on my knee when he was ten," Street said. "I went with Diana Ross for three years when we were still signing on the streets."

Such recollections also brought Street back to The Temptations early days to interpret gems like "I Wish It Would Rain," an extremely moving track that was penned by a heartbroken writer who took his life right around the original recording sessions. Thankfully "My Girl" immediately lightened up the mood and came with carefree dancing and glowing harmonies. The grand finale was the immortal "Ain't Too Proud To Beg," which dipped and dashed between vocalists and even slicker step and spins. With a carefully coordinated bow, some kisses to the crowd and a standing ovation, Street's treatment of The Temptations was hearty and inspiring from start to finish and properly preserved its renowned legacy.

Q&A With Richard Street

You started to sing and play piano at a young age – were you from a musical family?

I had a couple of uncles who played piano professionally and my mom loved to sing and dance so I think I got it from her.

What was it like growing up in Detroit – the home of Motown?

Well, I got to grow up with a lot of great people – I remember Stevie Wonder when he was a kid, and Mary Wells of The Supremes was in my class in high school. She would come over to my house to drink Kool-Aid and play records and dance. Melvin Franklin [Temptations member] was my cousin, but he felt more like a brother – we were inseparable. We had a group when we were very young along with two other guys and a young lady called Barbara Martin, who ended up being the fourth Supreme for a while. We would sing a cappella at birthday parties, weddings and school events. It was such a great time, especially around Christmas when we would sing Christmas carols on street corners.

Tell us about your job at the legendary record label, Motown.

I started as a temp, working there from the day they opened and later I was promoted to the quality control department. My job was to listen to all the records that came in and evaluate them along with Norman Whitfield, who was a dear childhood friend of mine. Then on Friday we would take all the songs that we thought were good enough into a meeting with the founder of Motown, Berry Gordy. Everybody would vote from one to 10 on each record – one being a total smash and 10 meaning it needed some work. It was a very exciting and fulfilling job to have, and to know that I have had a part in shaping the history of music is wonderful.

Before you joined The Temptations, you sang from backstage for them as one of the members lip-synched. How did you come to sing for them upfront?

If anyone missed a rehearsal at Motown then I would get a call asking me to come down and stand in for them and that eventually led to me singing in the wings if someone was sick. When Paul Williams left, Melvin came to me and said he thought I should be in the group because I had been working with them from the very beginning – I had even taught Melvin to sing back when we were kids! It was an honor to finally play upfront with my brothers.

The dance routines are an integral part of your performances – have you  always choreographed your own?

In the beginning we noticed that a lot of groups would only snap their fingers or swaywhen they sang, so we started moving about more, which really set us apart. When Paul Williams came into The Temptations he did most of the choreographing and invented The Temptations walk. Then Cholly Atkins came along and he added the professional touch by having all five of us move together as one.

You’ve received a host of musical awards including three Grammys. Which are you most proud of?

I’m proud of all of them but being recognised as one of the greatest black groups of all time is what I’m most proud of.

Who has been a major influence on your interest in music?

Curtis Mayfield. He played, produced and wrote his own songs and that tripped me out! He wrote about black people pulling themselves out of desolate situations where they thought they could never succeed. He made me realise that some of my dreams could come true if I just stayed on the right course.

What keeps you passionate about performing after over 50 years in the business?

My brothers have all passed away now and I just want to keep the torch going for them. Knowing that I might help other young kids to reach their dreams keeps me working hard.

Any exciting plans for the future?

Right now I’m trying to write music for movies. I never dreamed I’d have the chance to do it, but here it is. I can’t wait! I’m writing a book too called Ball of Confusion, which will be out soon and is all about my time with The Temptations