Posted on 10/25/2014 10:30:26 PM PDT by re_nortex
Here's a full length (12:04) version of Papa Was A Rolling Stone by the Temptations in high quality evidently played off vinyl. This longer version has a very long instrumental introduction and a long bridge at the midpoint.
The musicianship impresses me. A very haunting melody with a string section and brass, rare in music nowadays. Since I know little about the recording industry, I have to ask the intelligentsia (a big word for FReepers), what techniques were used in the early 1970s to create such a sound. I presume it was recorded in the rather modest facilities of Motown in Detroit, shown below. As for the string section, did that predate synthesized violins? If so, were these musicians part of the Motown staff or did they contract with the Detroit Symphony?
Sorry for the naive questions but I know I can find good answers from good people here about this song that, some 40 years later, I still find intriguing.
Overdubbing has been using in commercial music recordings since the 1920. Les Paul helped to bring the tape version of overdubbing to the forefront in the 1950s. He also showcased tape delay reverb, varispeed/flanging and phasing. All this stuff was old hat by the 1970s. It’s unlikely that any unusual techniques were used to record in the song in question.
It reaffirmed that, no matter the subject, the best and the brightest are found right here. Indeed this forum is the place to...
To talk of many things: Of shoes and ships and sealing wax Of cabbages and kings And why the sea is boiling hot And whether pigs have wings.
Again, much appreciation to all for indulging me in some lighter fare.
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.
Great observation, and quite true.
I became a music buyer in 1966 at the age of 13. I may have been spending my parents' money, but those few dollars went toward building the burgeoning rock music industry.
Over the course of my teens and my young adulthood, I put thousands of dollars into that segment of the economy. And my spending was modest compared to what many of my peers spent.
The cumulative effect of all that money flowing in, was revolutionary, in historic terms. Never had artists, and everyone else in the music business, enjoyed such enormous incomes.
You're right on target. All that money (and natural competition among artists) encouraged an explosion in recording technology advancements.
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.
No, by 1970, Motown was one of the leading state-of-the-art recording companies in the country. Their domination of the Top 40 charts was nearly unrivaled. The old house on West Grand was pretty much an historic relic by that time.
“were they likely rented from the local symphony “
Yes. In a way. They would have been hired as private contractors, not “rented” from the symphony. Symphonies don’t actually own the rights to the musicians they use. Just because one is a “member” of a symphony orchestra doesn’t mean they can’t do any other gigs they choose to do. Check out Martin’s book. Great easy read about a fascinating gentleman! Covers all facets of recording, in layman’s terms. I’ve read it twice,,,, so far!
I am supposed to be in the Dallas area in January screening my film “Rockin’ the Wall” for a Texas Policy Group. Send me a mail, I can get your e-mail and let you know when we’ll be there.
OH, heck yeah! I borrowed one of those 80-8 machines for a few weeks. Faster tape speed = magic high end. I was amazed. Clanky little bells became dreamy tinkly things.
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.
http://www.youtube.com/watch?v=iDPjYZxi0n8
Simple, easy to listen to and probably formula of the day.
Although it took a great while before I got a Round TUIT, I would be remiss if I didn't thank you for this recommendation of last fall. Arriving just last week, “All You Need Is Ears” was indeed a page-turner and a fascinating read. The chapter where he explains sound theory and the math behind music was an eye-opener more aptly, an ear-opener. Martin's explanation of miking the musicians in the studios at Abbey Road was particularly interesting as was his discussion of the "valve" consoles used to mix the microphones. Little did I realize that Martin was far more than the Beatles, with his Parlophone recordings of Peter Ustinov, Peter Sellers, Sophia Loren as well as a whole host of musicians (secular and sacred) from Scotland.
Like you, I heartily recommend the book for anyone even remotely interested in the art -- and science -- of recorded music. Thanks again for a most superb suggestion!
I’m very glad you liked it! My doctor has my copy now. When I tell people about it, they find it hard to believe that it is hard to put down. Page-turner fur shure!
PS; I only use “valve” amps!
According to Carole Kaye, Motown started moving out of Motown and to L.A. studios, where she played on Four Tops sessions among others, in 1965, and that is something that Berry Gordy doesn’t like to talk about.
Disclaimer: Opinions posted on Free Republic are those of the individual posters and do not necessarily represent the opinion of Free Republic or its management. All materials posted herein are protected by copyright law and the exemption for fair use of copyrighted works.