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Home , All Directions, Barrett Strong, Bob Babbitt, Car Wash (soundtrack), Damon Harris, Dennis Edwards

ISSUE #36 MMUSICMAG.COM BEHIND THE CLASSICS WRITTEN BY: AND RECORDED: STUDIOS, PRODUCED BY: NORMAN WHITFIELD , , , , : VOCALS : BASS : DRUMS WAH-WAH WATSON, : JOHNNY GRIFFITH: KEYBOARDS : PERCUSSION : STRING AND HORN FROM THE : (1972) Richard Street Richard

Clockwise: Dennis Edwards, Melvin Franklin, Richard Street, Otis Williams, Damon Harris

“Papa Was a Rollin’ Stone”

By the early 1970s, the Motown Sound a love-hate relationship from the very first rules of a typical hit. know the had lost its innocence. Simple three-minute time the vocal quintet worked with Whitfield— conventional wisdom of keeping an intro songs about and heartaches had he gave them hits, but not without torturing short. Before Edwards sings the opening given way to complex epic soul workouts them in the studio. line, there are two minutes of instrumental that tackled socially conscious topics. And “My first reaction was that I hated the build—and long instrumental breaks stretch leading the charge was producer Norman guy,” said lead singer Dennis Edwards. between verses and choruses. Perhaps most Whitfield. With hits for the Temptations “Norman had a way of making you mad. He interesting, the entire song motors along on like “Cloud Nine” and “Ball of Confusion,” was the type who’d yell, ‘You sound like crap. one single chord. Whitfield and his lyric-writing partner Barrett My kid could sing better than this!’ But when Topping the charts in December 1972, Strong kept upping the ante on just how you heard the finished product, you realized it would be the Temptations’ last No. 1 hit. experimental a soul record could be. it was his way of getting the best out of you. It went on to win three Grammy Awards, In 1972, the team unveiled their And he had this weird talent: We’d get a including Best R&B Song, and was later masterpiece, “Papa Was a Rollin’ Stone.” vocal groove going, and then he’d know covered by such artists as George Michael Over a 12-minute symphonic canvas, they exactly the perfect time to record each of us. and . “Papa” was also Whitfield’s unfolded a drama of a deadbeat ghetto father He’d hear a certain quality and seize on it.” last hurrah at Motown. He went on to and the family he left behind. If Motown Bass singer Melvin Franklin recalled produce hits with (“”) honcho had issues the year his initial doubts about the song. “Norman in the mid-’70s before disappearing into a before with ’s socially pointed always came in with huge productions. When reclusive existence. He died in 2008. “What’s Going On,” one can only imagine I’d hear all that stuff, I’d try to figure out just Though it was a Temptations chart- what he made of the cold, hard realism in what we were going to do. You know, where topper, the tune was a testament to the lines like: “Some bad talk going around do we fit?” But all five Temps staked out their genius of Whitfield. As Gordy said, “Norman saying Papa had three outside children and turf, assuming the roles of sons questioning could play the same chord and do all these another wife.” their mother about their delinquent dad. For different beautiful melodies and things that Whitfield and Strong had first recorded all its production grandeur, the song finds its others couldn’t even imagine. He’d work with the song in 1971 with , emotional core in the vocal interplay, like a all the Temps, changing leads for each. He’d whose version stalled at No. 63 on the charts. streetwise oral history set to a funky groove. pick the right lead for the right song, and he’d Whitfield, convinced that “Papa” was a No. 1 For radio, the epic was pared down utilize all five leads. It was just incredible.” record, retooled it for the Temptations. It was to seven minutes—and still broke other –Bill DeMain

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