That pretty much echos what I said in post 8, although, by the time this tune was recorded by the Tempts, there had been a lot of improvements in audio recording technology.
Per Wiki:
"In 1963 The Beatles were using twin track for Please Please Me album. Beatles producer George Martin used this technique extensively to achieve multiple track results, while still being limited to using only multiple four-track machines, until an eight-track machine became available during the recording of the Beatles' White Album. The Beach Boys' Pet Sounds also made innovative use of multitracking with 8-track machines of the day (circa 1965). Motown also began recording with 8-track machines in 1965 before moving to 16-track machines in mid-1969."
I agree that most of the 'magic' in that tune is due to the skill and artistry of the artists, producers, and engineers.
I guess what struck me while listening to this version of "Papa Was a Rolling Stone" with the extended instrumental parts was how lush the orchestration was. From what I gather, Motown was still a small operation headed up by a single entrepreneur, Barry Gordy using the converted house ("Hitsville") on West Grand to make that musical magic. Lush orchestration from the likes Percy Faith, Nelson Riddle, Andre Kostelanetz and Henry Mancini were produced in large studios, presumably with a team of artists and technicians, all backed by big corporations. That's why I was particularly struck by the first three amazing minutes of this recording considering its more modest origins.
You solved a mystery for me. I was wondering why Sloop John B sounded like it had a slight distortion in it. You tube has two videos one is Behind the sounds Sloop John B and the other is Good Vibrations Rare Studio Recording that shows some interesting footage as to how the songs were recorded and who was involved.