In the vast expanse of music history, few artists embody the spirit of innovation and mystique quite like Michael Andre Lewis, known professionally as Mandré. A visionary force in the 1970s funk and electronic music scenes, Mandré’s story is one of audacity, creativity, and a futuristic vision that seemed to leap from the pages of a science fiction novel directly into the grooves of vinyl records.
Michael Andre Lewis’s journey began in Omaha, Nebraska, where his prodigious talent for music was evident from a young age. Classically trained, Lewis’s early career saw him performing with luminaries such as The Supremes and Stevie Wonder, showcasing his versatility and flair. However, it was his move to Los Angeles and subsequent reinvention as Mandré that marked the true beginning of his avant-garde legacy.
Adopting the persona of Mandré, Lewis introduced a character shrouded in mystery, often appearing in a futuristic helmet and visor that obscured his identity. This was not just a gimmick but a profound statement on the nature of fame, identity, and the future of music. Mandré’s albums, released under Motown’s subsidiary Mowest, were a blend of funk, jazz, and electronic music, infused with the sounds of synthesizers and vocoders. They painted a vision of the future that was both otherworldly and deeply rooted in the rhythmic foundations of funk.
Mandré’s debut album, “Mandré” (1977), was a bold foray into the uncharted territories of synth-funk and space music, setting the tone for what was to come. Tracks like “Solar Flight (Opus I),” with its lush synthesizer landscapes and cosmic themes, became emblematic of his style. Despite producing three albums for Motown, Mandré remained somewhat of an enigma, with his music achieving cult status but eluding widespread mainstream success. His work, however, was profoundly influential, presaging the electronic and synth-based movements that would dominate the music industry in the decades following.
While Mandré’s discography might not have achieved the commercial heights of his contemporaries, his influence on the genres of funk, electronic, and experimental music is undeniable. Artists across genres have sampled his work, and his vision of a synthesizer-driven future has come to fruition in ways even he might not have imagined. Mandré’s music offers a glimpse into an alternate history of pop music, one where the boundaries between man and machine, the past and the future, are blurred.
Today, there’s a growing appreciation for Mandré’s contributions to music. As new generations of artists and listeners delve into the archives of electronic music, they discover in Mandré a pioneering spirit that resonates with contemporary sensibilities. His albums, once overlooked, are now celebrated as groundbreaking works that pushed the boundaries of what music could be.
Michael Andre Lewis, under his guise as Mandré, crafted a legacy that extends far beyond his discography. He envisioned a future where music transcended traditional boundaries, a vision that continues to inspire and challenge. In the pantheon of music history, Mandré stands as a testament to the power of innovation and the enduring allure of the mysterious. As we look back on his career, we’re reminded that the future of music, much like Mandré’s identity, is an ever-evolving mystery, one that invites us to listen and dream in equal measure.
SoulDisco had to chance to talk to Otis Williams about the upcoming Tour in germany.
2. You are looking back on 60 years of successful stage presence. At what point were you aware that you essentially shaped the style of soul music?
3. Which special moments of your career do you remember the most?
One special moment that still stands out was when we learned we had a national hit with our single, “The Way You Do The Things You Do” which was written by Smokey Robinson and Bobby Rogers. That was a big moment. We had just come back to Detroit from one of tour stints in cities around Michigan. When we got to Motown, we were told the song had hit the charts at #76. By the time we had released “The Way You Do The Things You Do,” we had recorded seven or eight records including “I Want a Love I Can See,” which we thought was going to be a hit. When we saw the music trades with our song on the chart, we just sat there in the Motown lobby and cried like little boys about to get their butts whipped. The song took off in Chicago, Philly, New York and around the country and climbed the national Pop chart to # 11. That was 1964 and we’ve been rolling ever since.
Another huge moment came in 1965, when “My Girl,” became a #1 Pop chart hit. That hit was a game changer for The Temptations. We were performing at the Apollo Theater in Harlem when we received telegrams from Berry Gordy, The Supremes, The Beatles and others, congratulating us on our #1 success. It was The Temptations’ first #1 charted record and sold multi-millions of copies. “My Girl” was inducted into The Grammy Hall of Fame in 1998 and in 2018 it was entered into the National Recording Registry by the Library of Congress. It has become a standard now. “My Girl” opened the door to global attention for the group and we continued to produce a string of chart hits in the decades to follow.
Another memorable time was (during our Classic Five period) doing five shows in one day at The Apollo Theater in New York City. The line of fans outside the Theater wrapped around several blocks and avenues. We opened the show with the song “Hello Young Lovers,” rather than opening with an R&B tune. That was a bold move to make at the Apollo. The curtain would be closed and when our famous four-headed microphone was placed on the stage in front of the closed curtain, the audience would go wild. The curtain would go up and we’d start with that song and fans would rush to the front of the stage. Also memorable were our appearances at the famous Copacabana supper club in New York, and our 13 appearances on The Ed Sullivan television show, and so many others national TV programs. We knew back then that our music had become iconic in the global entertainment world.
I’ll always remember in 1968, and 1969, Diana Ross and the Supremes and The Temptations starred in primetime network television specials “TCB (Taking Care of Business)” and “G.I.T. (Getting It Together) on Broadway.” Never before had two contemporary African American groups headlined their own #1 nationally rated television specials, both produced by Motown, an African American owned company. The “TCB” special was named the #1 rated variety show in 1968 and received an Emmy® nomination. The original cast soundtrack album, TCB, reached #1 on Billboard’s Top 200 Albums chart.
Other big moments included when The Temptations delivered Motown’s and our first-ever, GRAMMY® at the 11th Annual Grammy® Awards in 1969 for Best Rhythm & Blues Performance by a Duo or Group, Vocal or Instrumental, for our song, “Cloud Nine.” We have also been awarded five Grammy® Awards, including the Recording Academy’s Lifetime Achievement Grammy® Award.
Earlier this year, it was incredible delivering our 60th anniversary album, TEMPTATIONS 60. Being back in the studio this time reminded me of how long and rewarding a journey it has been. I get emotional when I think about it, because we poured every ounce of our heart and soul into making the new album very special, and I can proudly say it showcases brand new songs that reflect the best of what’s vintage, and modern, in our music. This new album represents generations of unique melodies, lyrics and songs, distinctly our own. Some of the new songs echo our original ballads and love songs, while others capture current, topical vibes of the 21st Century. It also includes new songs that reflect the times we are living in now. It brings together again several great producers we have worked with in the past, including Smokey Robinson, Narada Michael Walden, Dennis Nelson and Thomas “TC” Campbell. Now, as divine grace would have it, we got another chance to collaborate again.”
The Temptations first performed with The Four Tops on the Motortown Revue Tours in the 60s. We really enjoyed being on the road together. Back in the day, back in Detroit we considered them competition. They had a sophisticated style and some fantastic moves on stage. Duke Fakir, a founding member of The Tops, and I go back as far as those very early days of Motown. I even remember seeing the Tops perform in Detroit back in fifties and I thought they were greatest, and still do.
One of most memorable experiences with The Tops was back in 1983 when we did the Motown 25 television special together. That network television special had to be one of the biggest events that year. Motown brought together many of its famous artists for the special, including The Supremes, The Temptations, The Four Tops, Marvin Gaye, Stevie Wonder, The Jacksons, Martha Reeves, and many others. Someone came up with the idea to have The Temptations and The Four Tops do a little singing battle during the show.
