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'Cloud Nine' At 50: Otis Williams Reflects On The Temptations' "Experimental" Era
The 77-year-old frontman and only original surviving member of the legendary Motown group recalls recording the band's ninth album and taking influence from funk kings Sly and the Family Stone
"Time flies when you’re having fun!" says Otis Williams.
The frontman and only original surviving member of The Temptations is celebrating the 50th anniversary of the release of the legendary Motown group's ninth album, Cloud Nine, on Feb. 17.
The album's title track earned the group — and Motown — their first GRAMMY Award, for Best Rhythm & Blues Performance by a Duo or Group, Vocal or Instrumental.
"It was a surprise,"" Williams recalls of the win. "Cloud Nine was a departure from the songs that we had been recording before, because the previous hit was 'Please Return Your Love to Me,' which is a beautiful ballad. So to come from ‘Please Return Your Love’ to psychedelic soul was a quantum leap."
Williams credits that "quantum leap" from balladry to psychedelic soul to being inspired in part by Sly and the Family Stone.
"The Temps were in New York City at the time,” he explains, "and Kenny Gamble of Gamble and Huff — he and I were good friends — we were talking one day in the hotel room and we heard Sly and the Family Stone with 'Dance to the Music.' And when they did that little breakdown and started doing that [hums breakdown], I said, ‘Wow, that’s pretty slick!'
"I went back to Detroit and I asked Norman Whitfield, who was our producer at the time, if he had heard Sly and the Family Stone and he said, ‘No, I haven’t heard.’ I said, ‘Well they have a sound I like, we should probably try that,’ because we were going from David Ruffin to Dennis Edwards. So we went out of town and came back to Detroit and Norman had recorded 'Cloud Nine,' and the rest is history."
With the lyrics, "Depressed and downhearted, I took to Cloud Nine/I'm doin' fine, up here on Cloud Nine," "Cloud Nine" the song has always invited comparisons to getting high, but Williams says it came from a sober place.
"It came about through Norman Whitfield and Barry Strong," he explains. "Cloud nine is a saying that’s been around for eons. Those guys, they didn't get high, they were just writing from what they felt and it turned out to be a great song. But cloud nine is something that’s been around a long time. And I guess that’s how it really came about, they just got together and decided to call the song ‘Cloud Nine’ and when they presented it to us we went into the studio and did the best we could do with it. But there’s no real origin other than the expression has been around a long time and they just turned it into a song of expression. You can think however you want to think about ‘Cloud Nine’ and getting high, but Norman Whitfield and Barry Strong didn’t do drugs.”
"Cloud Nine" grabbed the GRAMMY, but it was another song from the album that would truly impact the course of the group's career. While most of the 10 songs on Cloud Nine hover around the three-minute mark, "Runaway Child, Running Wild" came barreling out the gate at just over nine-and-a-half minutes.
"Back then, we and Norman were very experimental,” says Williams. "It wasn’t known for songs to be over three or four minutes to get any real air time, so there were times that Norman would have to shorten the songs so we could get some air time. But in the evening, when it was after six or seven, and disc jockeys had the freedom to play longer songs, thats’ what happened. But we were just very experimental and Norman got in the groove and he decided to ride the groove out with all those different inflections and the tracks that made the Cloud Nine album and the subsequent album very entertaining. Prior to Cloud Nine, our songs were to the point, three minutes, maybe three and a half minutes and that’s it. But in 1968 the format of radio started changing, they had ‘the Quiet Storm,’ where they could play beautiful music a lot longer, love songs a lot longer. It was a different change of airplay and the way radio was being received."
Half a century later, the group is as active as ever. Motown/UMe reissued Cloud Nine on color vinyl in October, and The Temptations are touring around the country for most of the year. Previews for the group’s musical, "Ain’t Too Proud: The Life and Times of The Temptations" begin February 28 on Broadway at the Imperial Theatre, and the show opens on March 21.
"I first saw it in the very embryonic stage when they were getting together in New York City and I just saw a small portion of it,” Williams says of the musical. "During the intermission, someone came up to me and said, ‘Mr. Williams, how do you feel looking at yourself up on that stage?’ I said, ‘I can’t even put it into words, it’s so interesting to see what we’ve gone through.’ She said, ‘I did not know that you all went through those kind of changes. I said, ‘Oh yes,’ and she said, ‘You have a hit on your hands. I’m going to tell you this, it’s going to be just as big as Hamilton, if not bigger.’ I said, ‘Well if we do anything close to what Hamilton did I will be happy as a cat covered up in caca,’ and she busted out laughing. So it looks like it’s going to go through the roof as far as being accepted and being appreciated because of the music.
“But, I must say, it is not only the music,” he continues. "Naturally, 'Can’t Get Next to You' and the 'Just My Imagination' and 'Ain't Too Proud to Beg' — yeah, the people want to hear those songs, but I find as I look at it and I look at it with objectivity, that the story is touching. Getting shot at on the bus down South, walking into a restaurant with a group of us and getting told, 'We don't serve n and we said, ‘Well we don’t eat them' and we had to turn around, walk out and find a place to eat. All that’s being portrayed in the play, so it’s the story as well as the music so it's the best of both worlds. Please check it out because it’s turning out to be something really special."
It's been 60 years since the birth of Motown and the lessons taught there have lasted artists a lifetime.
"Most of the Motown artists had to go to school to learn to be in show business,” he said. "Not for the hit record only, but being able to work and command big dollars whether we ever got another hit record or not. We tried to establish ourselves as performers to help the great music that we made. Like I always tell people, there will never ever, ever, ever — and I try not to use the word never because you never know in life — but i think I’m safe in using it. There will never ever, ever be another Motown Records, no company will ever be like Motown.
"I just love what we do,” he asserted. "Each year is a blessing to be able to be around 59 years later. You could have tipped me over with a feather before I would have believed that we would be around 59 years later."
Photo: Jeff Kravitz/FilmMagic
GRAMMY Rewind: Kendrick Lamar Honors Hip-Hop's Greats While Accepting Best Rap Album GRAMMY For 'To Pimp a Butterfly' In 2016
Upon winning the GRAMMY for Best Rap Album for 'To Pimp a Butterfly,' Kendrick Lamar thanked those that helped him get to the stage, and the artists that blazed the trail for him.
Updated Friday Oct. 13, 2023 to include info about Kendrick Lamar's most recent GRAMMY wins, as of the 2023 GRAMMYs.
A GRAMMY veteran these days, Kendrick Lamar has won 17 GRAMMYs and has received 47 GRAMMY nominations overall. A sizable chunk of his trophies came from the 58th annual GRAMMY Awards in 2016, when he walked away with five — including his first-ever win in the Best Rap Album category.
This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly. Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system.
"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."
He also extended his love and gratitude to his fiancée, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.
"We'd never forget that: Taking these kids out of the projects, out of Compton, and putting them right here on this stage, to be the best that they can be," Lamar — a Compton native himself — continued, leading into an impassioned conclusion spotlighting some of the cornerstone rap albums that came before To Pimp a Butterfly.
To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal, Anna Wise and Thundercat). He also won Best Music Video for the remix of Taylor Swift's "Bad Blood."
Watch Lamar's full acceptance speech above, and check back at GRAMMY.com every Friday for more GRAMMY Rewind episodes.
Photo: Courtesy of the Recording Academy
GRAMMY Rewind: Smokey Robinson Accepts A GRAMMY On Behalf Of The Temptations In 1973
Motown legend Smokey Robinson filled in after fellow label icons the Temptations won a golden gramophone for "Papa Was a Rollin' Stone," and took a moment to celebrate the group's "fantastic" achievements.
Since its premiere in October 1972, "Papa Was a Rollin' Stone" remains one of the highest-performing singles in the Temptations' catalog — and one of Motown's timeless classics. The song quickly rose to the top of the Billboard Hot 100 chart at the end of 1972, and snagged the group two GRAMMY wins at the 1973 GRAMMYs.
In this episode of GRAMMY Rewind, Motown legend Smokey Robinson takes the stage to accept the Temptations' award for Best Duo/Group R&B Vocal Performance at the 15th GRAMMY Awards. Robinson was a longtime collaborator of the group, writing some of their most notable hits, including "My Girl," "The Way You Do the Things You Do" and "Get Ready."
"I would like to say it's a great pleasure for me to come and accept this award for the Temptations, who have always been fantastic and are doing special, fantastic things," Robinson praised, alluding to their "musical marriage" to songwriter and producer Norman Whitfield.
Press play on the video above to watch Smokey Robinson accept the Temptations' golden gramophone for "Papa Was a Rollin' Stone" at the 1973 GRAMMYs, and keep checking back to GRAMMY.com for more new episodes of GRAMMY Rewind.
Photo: Robyn Beck/AFP via Getty Images
A College Of Musical Knowledge: 15 Musical Groups That Act As Hubs For Emerging Talent
Some acts have few or no original members because they simply can't keep the band together; others turn over their memberships somewhat by design, and act as bona fide academies for new waves of musicians. Here are 15 diverse examples.
Ever hear of the Ship of Theseus thought experiment? It asks the reader to picture a ship whose components have been replaced — hull, mast, sail, rudder, and every single plank of the deck. Is it still Theseus' craft? Or something else entirely? The question still bedevils philosophers.
Now apply this framing to beloved musical groups of the 20th century. That's what Rolling Stone writer David Browne did in his 2022 feature, "The Future of Classic Rock Tours: One or Two Surviving Members…or None?"
As Browne illuminated, estate-authorized acts like the Allman Brothers Band Presents: Trouble No More are bringing beloved songbooks to audiences thirsting for them — without most or all of the parent band's original members. (Lynyrd Skynyrd is down to one.)
And with the passage of time, Trouble No More could become a model for keeping acts on the road — and, in turn, streaming numbers up, and the brand in people's mouths.
Audiences may feel one way or another about seeing Woodstock-era favorites Canned Heat with one almost-original member: Adolfo "Fito" de la Parra. (Side note: they still cook.) But what if the massive turnover isn't an unfortunate hurdle due to members dying or leaving? What if, to some degree, it's the whole point?
Welcome to the sphere of music where classic ensembles act as hubs for emerging talent; they turn over like college alumni or sports teams. Many of Art Blakey's Jazz Messengers became jazz legends; John Mayall's Bluesbreakers gave the world Eric Clapton, Mick Taylor and Peter Green.
And this model applies across the board: to big band, to classical, to cumbia and salsa. Slipknot and Tower of Power arguably qualify. So do Yellowjackets. And so did Miles Davis' and David Bowie's various groups. Doo-wop is full of them. There's one titanically important electronic band, extant since 1967, passed to a new heir.
All ensembles may consist of mortals with shifting priorities, but their music doesn't have to disappear when they do. Here are 15 longstanding acts who replaced most or all of their planks — to borrow a metaphor — and made the most of it.
Art Blakey and the Jazz Messengers
Art Blakey and the Jazz Messengers aren't only a serious contender for the greatest jazz band of all time, they functioned as an unofficial jazz university, with drummer Blakey as their tempestuous headmaster. The group featured dozens of cats throughout its four-decaderun: Horace Silver, Hank Mobley, Jackie McLean, Joanne Brackeen, Wynton and Branford Marsalis were all nurtured as Messengers, and that's just scratching the surface. When Blakey died in 1990, saxophonist McLean said just about the only three words you can say: "School is closed."
Count Basie Orchestra
From the Mingus Big Band to the Duke Ellington Orchestra to the Vanguard Jazz Orchestra (once known as the Thad Jones/Mel Lewis Orchestra), jazz is replete with big bands whose leaders died long ago. Some call them "ghost bands," whether or not their musicians appreciate the tag. Whatever your chosen vocabulary, Count Basie Orchestra is one of the most prestigious ensembles without their fearless leader, who formed the group in the mid-1950s. As for the Basie band's current incarnation, led by the illustrious Scotty Barnhart? They were nominated for a GRAMMY in 2021, for Live at Birdland!.
John Mayall's Bluesbreakers
John Mayall's Bluesbreakers hold the strange distinction of being written and talked about more than listened to. Any biography of the Rolling Stones, Cream and Fleetwood Mac will invariably mention them, but when's the last time you cued them up on Spotify? That shouldn't be the case, necessarily; they made classics like 1966's Blues Breakers with Eric Clapton and fostered guitar gods in all three of those household names. And best of all, they’re still at it.
Juilliard String Quartet
Founded in 1946, the Juilliard String Quartet is critically important to the evolution of chamber music stateside. William Schumann, the then-president of the New York school, founded it; violinists Robert Mann and Robert Koff, violist Raphael Hillyer, and cellist Arthur Winograd formed the OG lineup. Areta Zhulla, Ronald Copes, Molly Carr, and Astrid Schween are currently in their seats; over the decades, they've won four GRAMMYs and been nominated for 16.
La Sonora Dinamita
Since their founding in 1960, Colombian cumbia greats La Sonora Dinamita have played an instrumental role in the form's popular resurgence. Beneath the unchanging banner, their lineup has turned over, and over, and over: original singer and musical director Lucho Argain's passing in 2002 didn't stymy their constant evolution. In the 2020's, with current players at the vanguard of cumbia, they remain absolute dinamita, releasing music with abandon.
Do you typically think of boy bands as being relatively static, membership-wise? Maybe one or two members in and out, but the familiar faces remaining? Feast your eyes on Menudo's Wikipedia page: a whopping 38 past members. Since the brand's formation in 1977, Menudo has provided a launching pad for international stars Ricky Martin and Draco Rosa, and weathered tragedy and legal battles. But they're not ending anytime soon — thanks to Mario Lopez and his global talent search.
Who's the most prolific, dynamic and influential ensemble in funk history? It's borderline axiomatic that the answer is P-Funk. Together or apart, Parliament and Funkadelic haven't just made bona fide classics — press play on 1971's Maggot Brain or 1978's One Nation Under a Groove — they architected their own bizarre, hyper-imaginative, Afrofuturist universe. And it goes even deeper: under the tutelage of George Clinton, members like Bootsy Collins, Bernie Worrell and Eddie “Maggot Brain” Hazel became stars. The collective is still going today; looking at the astonishing headcount over the years, it seems hard to find someone who wasn’t in P-Funk. To everyone who was, is, and has been — what a feather in your cap.
Preservation Hall Jazz Band
New Orleans is Pres Hall is New Orleans: watch the wonderful 2018 documentary A Cuba to Tuba to find out why. These days, countless historical jazz sites in the Big Easy are crumbling and collapsing, but institutions like the Preservation Hall Jazz Band — as well as Dirty Dozen Brass Band, among others — ensure the music is unscathed. Founded in the early 1960s as the house band for the hallowed French Quarter venue, the ensemble has never reneged on its mission: "nurturing and perpetuating the art of New Orleans jazz."
Founded in 1967, the German electronic music pioneers join Guided by Voices and the Grateful Dead with this distinction; you could only listen to Tangerine Dream and be well-stocked with jams for the foreseeable future. As the brainchild of Edgar Froese for decades, they made classics like 1972's Zeit, 1974's Phaedra, 1980's Tangram… the list goes on. The band could have understandably folded when Froese passed in 2015, but his successor, Thorsten Quaeschning, remains the bearer of the flame. And by the sound of their stunning 2022 album Raum, rightfully so.
The Four Seasons
If infectious, pre-Beatlemania tunes like "Sherry" and "Big Girls Don't Cry" have been basically implanted in your skull from birth, thank one man first and foremost: Frankie Valli. His Four Seasons have provided a platform for numberless singers and instrumentalists since then — through the '70s, '80s, '90s, and up to the present day. These days, 88-year-old Valli is the only remaining original member of these Jersey boys — which says much less about the integrity of the original group than his capacity to hand out hat-hanging legacies.
Whether or not the ska revival swept you up or not — and regardless of the volume of checkerboard threads in your closet — the fact remains that the Skatalites are pillars of the form. Like the Four Seasons, the instrumental supergroup began during Beatlemania time, and never stopped mutating and evolving. Decades past their early hits, like "Guns of Navarone," they give younger players like New York saxophonist Anant Pradhan a chance at ska royalty while offering legends the chance to bring Jamaica's freedom sounds to new generations — like 85-year-old percussionist Larry McDonald.
Ah, the Temps: Detroit legends, undersung psychedelic voyagers, the first Motown signees to win a GRAMMY. (That was in 1968, for "Cloud Nine"; how could Membership back then sleep on "My Girl"? We digress.) In 2018, the Broadway show Ain’t Too Proud gave opportunities beyond the purview of the endlessly shapeshifting original band. Come the 2020s, Otis Williams is the only original Temptation; many, many men have been one. Imagine the feeling of learning you're one. A certain jam from '68 might sum it up.
The Wailers Band
We're used to hearing this band name glued to "Bob Marley &"; is their association with Marley the long and short of their importance? Heavens, no, as at least two other members were legends in their own right: Peter Tosh and Bunny Wailer. After Marley's death in 1981, the band continued under various permutations and spin-offs — including The Original Wailers — with talented members in and out the door. These days, Aston Barrett Jr. and Emilio Estefan Jr. are at the helm of the Wailers Band; Barrett's been nominated for a GRAMMY, Estefan's won two.
Despite being something of a '60s relic, the Yardbirds' whole catalog holds up; they were as psychedelic as anyone, white British boys with a deep command of the blues. In their heyday, they launched the careers of Eric Clapton, Jimmy Page and Jeff Beck; Led Zeppelin originally took flight as the New Yardbirds. And their lineup churn continues; original drummer Jim McCarty remains.
So many members of the Allmans have dropped, but their popularity remains undimmed. (Crank up 1971's At Fillmore East on a good system and you'll see why.) Their estate has tried a unique tack: sending an estate-approved band called Trouble No More on the road, platforming young talent while giving the people the jams they require. Diehards' mileage may vary regarding a completely reconstituted Allmans. But the magnitude of talent from the multiracial, multigender ensemble might make haters eat a peach.
Photo: Rachel Kupfer
A Guide To Modern Funk For The Dance Floor: L'Imperatrice, Shiro Schwarz, Franc Moody, Say She She & Moniquea
James Brown changed the sound of popular music when he found the power of the one and unleashed the funk with "Papa's Got a Brand New Bag." Today, funk lives on in many forms, including these exciting bands from across the world.
It's rare that a genre can be traced back to a single artist or group, but for funk, that was James Brown. The Godfather of Soul coined the phrase and style of playing known as "on the one," where the first downbeat is emphasized, instead of the typical second and fourth beats in pop, soul and other styles. As David Cheal eloquently explains, playing on the one "left space for phrases and riffs, often syncopated around the beat, creating an intricate, interlocking grid which could go on and on." You know a funky bassline when you hear it; its fat chords beg your body to get up and groove.
Brown's 1965 classic, "Papa's Got a Brand New Bag," became one of the first funk hits, and has been endlessly sampled and covered over the years, along with his other groovy tracks. Of course, many other funk acts followed in the '60s, and the genre thrived in the '70s and '80s as the disco craze came and went, and the originators of hip-hop and house music created new music from funk and disco's strong, flexible bones built for dancing.
Legendary funk bassist Bootsy Collins learned the power of the one from playing in Brown's band, and brought it to George Clinton, who created P-funk, an expansive, Afrofuturistic, psychedelic exploration of funk with his various bands and projects, including Parliament-Funkadelic. Both Collins and Clinton remain active and funkin', and have offered their timeless grooves to collabs with younger artists, including Kali Uchis, Silk Sonic, and Omar Apollo; and Kendrick Lamar, Flying Lotus, and Thundercat, respectively.
In the 1980s, electro-funk was born when artists like Afrika Bambaataa, Man Parrish, and Egyptian Lover began making futuristic beats with the Roland TR-808 drum machine — often with robotic vocals distorted through a talk box. A key distinguishing factor of electro-funk is a de-emphasis on vocals, with more phrases than choruses and verses. The sound influenced contemporaneous hip-hop, funk and electronica, along with acts around the globe, while current acts like Chromeo, DJ Stingray, and even Egyptian Lover himself keep electro-funk alive and well.
Today, funk lives in many places, with its heavy bass and syncopated grooves finding way into many nooks and crannies of music. There's nu-disco and boogie funk, nodding back to disco bands with soaring vocals and dance floor-designed instrumentation. G-funk continues to influence Los Angeles hip-hop, with innovative artists like Dam-Funk and Channel Tres bringing the funk and G-funk, into electro territory. Funk and disco-centered '70s revival is definitely having a moment, with acts like Ghost Funk Orchestra and Parcels, while its sparkly sprinklings can be heard in pop from Dua Lipa, Doja Cat, and, in full "Soul Train" character, Silk Sonic. There are also acts making dreamy, atmospheric music with a solid dose of funk, such as Khruangbin’s global sonic collage.
There are many bands that play heavily with funk, creating lush grooves designed to get you moving. Read on for a taste of five current modern funk and nu-disco artists making band-led uptempo funk built for the dance floor. Be sure to press play on the Spotify playlist above, and check out GRAMMY.com's playlist on Apple Music, Amazon Music and Pandora.
Say She She
Aptly self-described as "discodelic soul," Brooklyn-based seven-piece Say She She make dreamy, operatic funk, led by singer-songwriters Nya Gazelle Brown, Piya Malik and Sabrina Mileo Cunningham. Their '70s girl group-inspired vocal harmonies echo, sooth and enchant as they cover poignant topics with feminist flair.
While they’ve been active in the New York scene for a few years, they’ve gained wider acclaim for the irresistible music they began releasing this year, including their debut album, Prism. Their 2022 debut single "Forget Me Not" is an ode to ground-breaking New York art collective Guerilla Girls, and "Norma" is their protest anthem in response to the news that Roe vs. Wade could be (and was) overturned. The band name is a nod to funk legend Nile Rodgers, from the "Le freak, c'est chi" exclamation in Chic's legendary tune "Le Freak."
Moniquea's unique voice oozes confidence, yet invites you in to dance with her to the super funky boogie rhythms. The Pasadena, California artist was raised on funk music; her mom was in a cover band that would play classics like Aretha Franklin’s "Get It Right" and Gladys Knight’s "Love Overboard." Moniquea released her first boogie funk track at 20 and, in 2011, met local producer XL Middelton — a bonafide purveyor of funk. She's been a star artist on his MoFunk Records ever since, and they've collabed on countless tracks, channeling West Coast energy with a heavy dose of G-funk, sunny lyrics and upbeat, roller disco-ready rhythms.
Her latest release is an upbeat nod to classic West Coast funk, produced by Middleton, and follows her February 2022 groovy, collab-filled album, On Repeat.
Shiro Schwarz is a Mexico City-based duo, consisting of Pammela Rojas and Rafael Marfil, who helped establish a modern funk scene in the richly creative Mexican metropolis. On "Electrify" — originally released in 2016 on Fat Beats Records and reissued in 2021 by MoFunk — Shiro Schwarz's vocals playfully contrast each other, floating over an insistent, upbeat bassline and an '80s throwback electro-funk rhythm with synth flourishes.
Their music manages to be both nostalgic and futuristic — and impossible to sit still to. 2021 single "Be Kind" is sweet, mellow and groovy, perfect chic lounge funk. Shiro Schwarz’s latest track, the joyfully nostalgic "Hey DJ," is a collab with funkstress Saucy Lady and U-Key.
L'Impératrice (the empress in French) are a six-piece Parisian group serving an infectiously joyful blend of French pop, nu-disco, funk and psychedelia. Flore Benguigui's vocals are light and dreamy, yet commanding of your attention, while lyrics have a feminist touch.
During their energetic live sets, L'Impératrice members Charles de Boisseguin and Hagni Gwon (keys), David Gaugué (bass), Achille Trocellier (guitar), and Tom Daveau (drums) deliver extended instrumental jam sessions to expand and connect their music. Gaugué emphasizes the thick funky bass, and Benguigui jumps around the stage while sounding like an angel. L’Impératrice’s latest album, 2021’s Tako Tsubo, is a sunny, playful French disco journey.
Franc Moody's bio fittingly describes their music as "a soul funk and cosmic disco sound." The London outfit was birthed by friends Ned Franc and Jon Moody in the early 2010s, when they were living together and throwing parties in North London's warehouse scene. In 2017, the group grew to six members, including singer and multi-instrumentalist Amber-Simone.
Their music feels at home with other electro-pop bands like fellow Londoners Jungle and Aussie act Parcels. While much of it is upbeat and euphoric, Franc Moody also dips into the more chilled, dreamy realm, such as the vibey, sultry title track from their recently released Into the Ether.