Why ‘My Girl’ is a Song We’re Still Talking About 60 Years Later

When was “My Girl” brought to you?

Well, the Temps at the time were performing at a place called the 20 Grand, which was a noted nightclub in Detroit. Smokey Robinson and his wife, Claudette, they came to see us. Smokey was basically, “Man, you guys are something else!” He was just ranting and raving. He said, “I got a song for you.” And us being young and cocky, we said, “Man, bring it on. We can sing anything.” As fate would have it, we had to go to the Apollo Theater with Smokey Robinson and the Miracles headlining; we were co-headlining. So in between shows, we would rehearse “My Girl.” When we finished the engagement at the Apollo, we flew back to Detroit and went into the studio and recorded “My Girl.” When Paul Riser did the string arrangement and the horns, I said, “Oh, this song has taken on a whole ‘nother life form.” I went in the control room, where Smokey was still doing his producing thing, and I told Smokey, “Man, this is going to be a big record.” In (March) 1965 at the Apollo (after “My Girl” was released), we got five telegrams. One from the Beatles, one from The Supremes, one from Berry Gordy, one from Jules Podell, the managing owner of the Copa, and one from Florence Ballard (a singer with The Supremes). I still have them hanging up in my home.

Why do you think the song still resonates?

People can relate to that: A guy that’s in love with a woman. It’s got that relatable kind of message. “My Girl” has become so loved that even when a father is giving away his daughter, that’s the song they play. Hey, it’s undeniable. I’ve since been told we are nearing almost a billion streams. You could have tipped me over with a feather. (Editor's note: As of publication, the song has surpassed a billion streams on Spotify.)

Did it change your life at all? You guys had success before, but when this skyrocketed, was it difficult to go out in public?

I've had people stop me just about wherever I’d go. "Mr. Williams, can we get your autograph?" "Oh, no problem, sure." Even if I don't feel like signing, I'll do it. I would tell my guys, “When they stop asking for your autograph, you'd better find something else to do.”

"I'm just thankful that we are in a business that can bring people together," Otis Williams says.

Shayan Asgharnia

The song has such an iconic opening. When you’re singing it live, what’s the reaction of the crowd?

Oh, they stand up, they applaud. They look like Cheshire cats out there, smiling. Music is the universal language. You can have all kinds of disagreements and what have you, but when you play a song that somebody loves, it breaks down barriers. It changes the whole mood of just about everybody. I’ve seen people crying because of what we are known for and the songs that we perform. This world needs what we do, because it brings people together. I look back at my life, and this is what God wanted me to do.

Is it a blessing or a burden to be the last member of the original Temptations?

I'm just thankful that we are in a business that can bring people together. After we do X amount of songs (during a concert), I’ll say (to the audience), "You know who the real stars are? It's not us. You all are." So they're like, “really?” I say, "Look, you decided to leave the comforts of your home to come out into these crazy streets, to come and see somebody. You don't have to do it. You all are the stars. We're just up here having fun." The whole place applauds because most artists say, "Oh thank you," and then bow. It's more than just a thank you. Acknowledge that they are the ones. If they didn't use their hard-earned money to buy our records, come out to see us, we might as well sit down and shut up.

Jawan M. Jackson and Otis Williams of the Temptations perform at Saban Theatre in Beverly Hills, California.

Scott Dudelson/Getty Images

What would shock your teenage self about your life now?

That we’re still doing it 61 to 62 years later. We don't do no splits. We used to do splits, but the choreography that the late, great Cholly Atkins (a vaudeville performer who became Motown Records’ house choreographer) and Paul Williams (no relation to Otis and a founding member of the Temptations who also was the group’s choreographer) bestowed upon us, we still do that. We have to do it, because if we come out and just stand there, if you can't show some of the moves, you need to stop doing it. So I try to take care of myself. I get out and do some jogging, some stretches or whatever, 'cause you're 83, you ain't 22. I have to take care of myself.