I wasn’t too good at selling it either-I kept saying the wrong things to these studio people.Ĭrumb’s appearance may be a surprise, but the way he lives is exactly as one might expect. It’s a humorous, sex, burlesque story and it’s pretty weird. It’s based on a comic I did years ago about this wimpy guy who falls in love with a female sasquatch (huge, hairy creatures said to live in the mountains of North America), and gets abducted in the woods. “Me and a friend of mine, Terry Zwigoff, wrote this script and took it to Hollywood and pitched it to different studios,” he recalls, “and while the studio people seemed to find me an amusing character, the script was way too offbeat for the Hollywood machine. Considering that Crumb probably hasn’t sat through a mainstream Hollywood feature in years, it’s surprising that he applied himself to the task of writing a script that this defiant iconoclast didn’t get too far in Hollywood is less of a surprise. The virulent dislike of mass media that surfaces in nearly every strip he draws didn’t stop him from having a go-round with the film industry. Well, for one thing, he surfaced in Hollywood last year. Though Crumb experienced- endured is how he would describe it-a period of high-profile celebrityhood when he burst onto the scene, he has since removed himself from the media compost pile to the point that many who know of his work wonder: Whatever happened to R. In real life, however, the notoriously reclusive artist prefers to interact with his fellow man from a distance. When ".Truckin '" became a hit, the Temptations' hit luster was waning, with "Hey Girl (I Like Your Style)" barely reaching the Top 40, and the follow-up funk song, " Let Your Hair Down", becoming only a modest hit (although an R&B #1).Crumb, whose cartoons currently are published in the quarterly magazines Weirdo and Hup, is afflicted with a compulsion to confess, and in his work he invites the reader into his psyche. By late fall, the song had reached number one on the US pop and R&B singles chart, matching the performance of the biggest singles released by his former group. Upon its release in the summer of 1973, the song would finally bring Kendricks out of the shadow of his former band as the song's catchy beats and melody became a crossover hit. With co-writers Anita Poree (1939–2018) and Leonard Caston Jr., Wilson created a song rivaling that of the Temptations' Norman Whitfield-produced cinematic soul that had become commonplace among the group's recordings, but instead of instigating drama, the song's grooves were clearly aimed at the dance floor. His earlier single, "Girl You Need a Change of Mind", was a cult favorite for club fans. Working closely with Frank Wilson, who was the main producer in most of Kendricks' solo efforts, the duo worked on a song that would aim at the dance floor rather than the serene ballads that Kendricks was used to recording. While his former bandmates went on to record hits such as " Superstar (Remember How You Got Where You Are)" (which was a reported jab at Kendricks and fellow ex-Temptation David Ruffin), and their seven-minute opus, " Papa Was a Rollin' Stone", Kendricks had begun to reach a cult R&B fan base following his most recent two albums. Vibes are played by Gary Coleman.īy 1973 Eddie Kendricks was two years into a solo career following his bitter split from The Temptations. "Keep On Truckin '" reached number one on both the Billboard Hot 100 and R&B Singles Chart upon its release, and was Kendricks' only number-one solo hit. The clavinet-featuring song was Kendricks' first major hit as a solo artist, coming two years after his departure from The Temptations. " Keep On Truckin'" is a 1973 hit song recorded by Eddie Kendricks for Motown Records' Tamla label. Motown studios in Los Angeles with Crystal Sound Recording Players 1973 single by Eddie Kendricks "Keep On Truckin', Pt.
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