Right. And you wrote or co-wrote some big hits for the group, like “Shake Your Body Down to the Ground,” as well as songs like “Style of Life” and “Everybody." When you were recording those albums, were those songs that you had been stowing away?
They were actually written for those albums. We may have had just a line, a lick, or an idea for some of them beforehand.
Which of the songs that you had a hand in writing are you particularly proud of?
“Destiny" and “Things I Do For You."
Are there any of the songs from the Motown years that you particularly liked performing?
Absolutely. All the Motown stuff I enjoy playing live to this day. It’s still part of my act.
I saw a clip of that on your website, and noticed that you have a few female vocalists who join you. Now, another song I should mention, going forward in time a little, is “We Can Change the World” from the Victory album. You sang lead on that. Are there any particular memories that you have from that time period when you guys all came together and joined forces again?
That whole album was put together in a rush, because of the time frame we had to work within to get it out and go on tour. I just remember each brother presenting a composition to the album, and there were a few that we did together as a group.
You also have done some production and writing for other artists. One that I always have been impressed with is an album you did for two guys I really don’t know that much about named Steven & Sterling—called One Magic Night. How did you break into that segment of the industry?
I had written and produced for my sister Rebbie and done some writing for LaToya. But I’d known Steven & Sterling since we were kids in California. They got signed by RCA, and they wanted me to work with them and produce their record. I also did some producing for Tramaine Hawkins, the gospel singer, on her songs "Freedom" and "Power"; and for Betty Wright, as well.
Is it different when you're producing for other artists versus for your brothers?
Well, no matter who you’re working with, a certain amount is going to be you, because it is you. But at the same time, you have to get into that artist’s feel, mood, or what their style is. You have to think what they would enjoy singing—because they have to live with it the rest of their life. So, I basically study the artist, listen to their music for awhile before I start the project, and then just go for it.