“Papa Was a Rollin’ Stone” by The Temptations
The best Temptations song ever recorded.
Programming note: It’s Motown Hits Week! This week, I’m writing about five R&B classics that sold millions of copies for the world-famous label. Unlike other themed weeks, these songs are all massive hits and will likely be recognizable to many of you. If you’re new to or unfamiliar with Motown and its rich history, this week’s content is also a great starting point. All killer, no filler … not to mention some of the best vibes around.
Hope you enjoy it!
Hello! 😊👋
Welcome to a new edition of the Best Music of All Time newsletter!
Today’s music pick is arguably the best song ever recorded by a remarkably talented vocal group.
Genre: R&B, Pop
Label: Motown
Release Date: September 28, 1972
Vibe: 🤯
I don’t think I can stress enough what an incredible flex this Temptations hit was at the time of its release.
Another songwriting collab from Norman Whitfield and Barrett Strong, “Papa Was a Rollin’ Stone,” was initially written in 1971 and destined for the Motown act The Undisputed Truth (great name, by the way). That group released the initial version with paltry commercial results, peaking at No. 63 on Billboard’s pop chart. Instead of boiling it down to its essence, as was so often Motown’s strategy when recycling material, Whitfield went in the other direction. He added layers of sublime orchestration, including fluttering strings and crisp horns, creating one of the lushest backdrops ever for a Temptations song.
One of the many things I love about the track is, despite its 12-minute running time (just under seven on the single version), it sucks you in right away. Those first few bass notes, framed by the constant hi-hat, are glorious on their own, but when the wah-wah guitar part hits your eardrums, the feeling is otherworldly. The instrumental by the Funk Brothers, the legendary session group responsible for Temptations hits like “My Girl” and “I Can’t Get Next to You,” and the Detroit Symphony Orchestra take their time adding layer upon sonic layer, giving room for the electric piano and harp to shine. It’s so enthralling that I never realize how much time (nearly four minutes) passes until Dennis Edwards breaks the group’s silence with those iconic opening lines: “It was the third of September/The day I’ll always remember, yes I will.”
The narrative, a sprawling tale of familial deceit and regret, is just as adventurous as its sonic backdrop, crafting a truly cinematic experience from start to finish. You can instantly picture the anguished mother-son conversation, as well as the vivid snapshot of the absentee father, described as “dealing in dirt and stealing in the name of the Lord.” Talk about powerful, economical storytelling on a grand scale.
Perhaps understandably, the “Papa Was a Rollin’ Stone” recording session was fraught with tension. The Temptations later dismissed Whitfield as a producer due in part to the fact that they thought the orchestration got more shine than their performance. I’d argue both aspects are a hand-in-glove fit, creating some genuinely exquisite R&B in the process.
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There's a lot of competition for "the best Temptations song ever recorded", I'll say that. And Norman Whitfield produced more than his fair share of those.
The Tempts quite possibly are the most influential male vocal group in R&B history. From their first emergence in the 1960s, their recordings and live performances were sublime. And more than a few vocal groups would follow in their footsteps that cited them as one of their greatest inspirations.
David Ruffin, Eddie Kendricks and Dennis Edwards were three of the best lead singers a group could have, but it was Otis Williams (now the lone surviving original member) and Melvin Franklin who anchored the group on-record with their deep voices and off-stage by being the cool guys amongst so many hotheads. And they've been soul standard bearers for over 60 years, which is no mean feat.
It's a damn good song, but the production bloated it far out of proportion on this version. Four minutes just for the intro? Nah.
Was (not was) did a leaner, punchier version in the 90s; that brought it back from the land of Rococo Mess and Excessive Handclaps. That's the one I go for when I want to hear the song.