Who Did It Better? Smiling Faces Sometimes / Papa Was A Rollin' Stone

Who Did It Better?

Smiling Faces Sometimes / Papa Was A Rollin' Stone 

Today, we tackle two bonafide soul classics. 

This is a truly unique story in the annals of music history. Imagine a successful singing group chafing and complaining about the control a certain writer/producer has over their work. Then imagine said writer/producer getting fed up with the complaints and forming a different group to serve as vehicle for his experimentations. That's exactly what happened when writer/producer Norman Whitfield formed The Undisputed Truth.

Whitfield had written and produced a long string of hits for The Temptations during the 1960's, but as the 70's dawned, the group was tired of Whitfield's instrumental experimentations stealing focus from the group's vocals. And the group was not quiet about their displeasure, with tempers flaring and things frequently growing heated in the studio.

Finally, Whitfield had enough and decided to form a separate vocal group so he could continue his "psychedelic soul production techniques." In 1970, Whitfield brought together Joe Harris, Billie Calvin and Brenda Evans to create his own recording act, The Undisputed Truth.

Billie Calvin and Brenda Evans had been singing as The Delicates and had done back-up vocals on the hits Ain't No Mountain High Enough for Diana Ross and Still Water (Love) for The Four Tops. Joe Harris had been part of The Fabulous Peps and The Untouchables (an early version of The Ohio Players).

Smiling Faces Sometimes is a song written by Whitfield with Barrett Strong. It was originally recorded by The Temptations, but Whitfield, known for recording multiple versions of the same song with very different arrangements, also had The Undisputed Truth record it.

The Temptations' would include the song on their 1971 Sky's The Limit album; a version that "runs over 12 minutes, most of which is extended instrumental passages without any vocals". An edited version was set to be released as a single in the summer of 1971, but got pulled when lead singer Eddie Kendricks, frustrated with both Whitfield and his fellow group members, abruptly quit, subsequently signing a solo deal with Motown in March of that year. 
 

It was then decided that The Undisputed Truth's version would be released as a single. It became a huge hit, snagging the #3 spot on the Billboard's Pop (Hot 100) chart and #2 on the R&B/Soul chart.

Whitfield had successfully put The Temptations on notice; play ball or the second string would!

Which brings us to Papa Was A Rollin' Stone.

Papa Was a Rollin' Stone, written by Norman Whitfield and Barrett Strong in 1971, was first recorded by The Undisputed Truth. Released as a single on May 9, 1972, the group's version, which was later included on their second album, peaked at #63 on the Pop (Hot 100) chart and #24 on the R&B/Soul chart. 

Disappointed with the results, Whitfield created a 12 minute version for the Temptations. Included on their 1972 album, All Directions - for The Temptations? It was the final straw. 

Tensions ran high in the studio during the recording process. The group was fed up with Whitfield's instrumental sections eating up more time on their albums than their vocals. Added to that, The Temptations desperately wanted to record ballads, something Whitfield had little to no interest in doing. In addition, Whitfield demanded Dennis Edwards record his vocal parts dozens of times. Whitfield wanted Edwards vocals to sound angry and bitter and as frustrations grew? That sound was surely achieved. 

Another problem? The lyrics. Edward's father had passed away on October 3rd, so he was unhappy with the song's first verse: "It was the third of September/That day I'll always remember/'cause that was the day/that my daddy died."

Released on July 29th, 1972, an edited version of the song, trimmed to seven minutes, was released as a single. Congas were added to the mix in order to bolster the album version's lack of percussion. The Temptation's version became a #1 hit on Billboard's Pop (Hot 100) chart while snagging the #5 spot on the R&B/Soul chart. It would go on to win three Grammy Awards: The A-side won Best R&B Vocal Performance by a Group, the B-side won for Best R&B Instrumental (Whitfield and arranger Paul Riser), while Whitfield and Strong, the composers, would walk away with the award for Best R&B Song.

Despite all the success, Whitfield's treatment of The Temptations would result in his dismissal as the group's producer. Ironically? Papa Was A Rollin' Stone would be the last #1 hit in The Temptations storied career. 

And that's the whole story!

Now, on to the competition.

The Songs: Smiling Faces Sometimes / Papa Was A Rollin' Stone

The Competitors: The Temptations vs. The Undisputed Truth

Smiling Faces Sometimes - The Temptations

(Single Edit)

Smiling Faces Sometimes - The Undisputed Truth

Papa Was A Rollin' Stone - The Undisputed Truth

Papa Was A Rollin' Stone - The Temptations

Smiling Faces Sometimes - The Temptations

Classic horn and string stings kick this off. The maracas playing off that sinewy horn section and the strings sets the mood. A lot of tension; like a snake coiled. Those backing vocals (Can you dig it?) Too funny. That falsetto in the background is interesting. Adds a lot. 

So the lead vocals by Kendricks? Not my favorite. The feel pitchy (although I think he's dead-on). It could have something to do with that strained throat that keeps presenting itself. His overall tone? Not my favorite. There's something wishy-washy about it.

Wow, at the :53 mark, those are some three dimensional horns. They create a stunning visual.  And the strings subsequently swirling up - very effective. This is the magic that Whitfield was always working in the studio - the same magic that caused a riff between him and The Temptations. 

"The eyes don't lie..." Love those vocals. Great contrast to Kendricks. Ah, then we get gritty and start the call and response. Nice. I can see why this was slated to be a single. I definitely prefer Kendricks grittier qualities. "Beware of the handshake, behind the snake..." Whoah. That comes out of nowhere and is on fire.  "The pat on the back" (smack, smack)... a bit cutesy, but fun. 

I love the groove. I love the backing instrumentation; positively solid. A flute? Huh. Let's see where it takes us. It only calls attention to itself that one time before fading back into the mix. Again, a masterful choice. Whitfield is an incredibly savvy arranger. He never makes the mistake of overusing a motif, a sound or 'gimmick'. 

This song is one big build... it's message gets more pointed and powerful as it progresses. I enjoy the pile-on effect of this vocal arrangement, too.  That co-lead vocalist doing the falsetto? He is tearing this thing up. I realize that without Kendricks grounding things with his deeper tone that the co-leads vocals wouldn't be as effective, but he deserves props! 

This is spot on. When the whole vocal group chimes in? It's like the sun breaking through a sky of clouds. 

I am glad this is the single version and not the full album version. Something tells me you could write a whole book on that extended 12 minute version. Whitfield is a masterful arranger. 

Smiling Faces Sometimes - The Undisputed Truth

A much heavier bottom to that beginning. And the wah-wah bar. Those horns are very James Bond. Like the string sting. The lead singer is aping the vocal inflections established by Kendricks, so far; that ache in the throat? That said, his voice has more of a lilt and a lightness in his mid-range that Kendricks did not display. Everything seems much higher and hotter in this mix; it's all competing with one another. That instrumental break is much more tightly wound than in the previous version. Interesting George Benson-like guitar in there. 

"The eyes don't lie..." was much more effective in The Temptations' version. Here, it doesn't break through the mix. 

Huh. I am not getting the story here. I can see how this played well on AM radio - it's very brightly mixed, but the mix is dense and the whole thing feels rushed. The Temptations' version uncoils itself to your ear. Here? It's just a song. Ah, Evan's totally delivers with her second shot at a solo, as she does with her third. Those secondary lead vocals really sell this song. As of the 1:46 mark, this version starts cooking with gas, and I'm hooked again.

The overall arrangement is not much different than the original. What is different is the overall tone of the production. All that brightness may help it play well on the radio, but it does not serve the song. 

Papa Was A Rollin' Stone - The Undisputed Truth

That opening is like a soulful Friday The 13th. Woodblock. Those are some weary vocals. Nice mix, though. I love all the atmosphere and the space between the vocalist and the instrumentation. Very funky, very earthy. Oh, dear... a flute. Very restrained horn work. Love how they pull back a note. 

I really like the vocal interplay between the three singers, each with a unique sound. Evans strikes hard and tough while Billie Calvin's soprano/falsetto floats through with Joe Harris holding the bottom down with his gospel preacher delivery. 

I have no complaints. You hear how Papa Was A Rollin' Stone and Smiling Faces Sometimes are cut from the same cloth; the build, the ornamental/atmospheric instrumentation, the interplay of voices? Here, Undisputed Truth, ably assisted by Whitfield, is doing a great job telling the story.

And it simply keeps getting better. Yes, Evans gets a bit strident and those strings are threatening to overwhelm, but when Harris breaks it down to speak mode, I find this thing more alive than ever. And I know this is running long at 3:25, but I still see room for growth. I can see why a 12 minute version of this came to be. That fade out starts way to soon for my ears - and that's saying something!

Papa Was A Rollin' Stone - The Temptations

That high hat cymbal means business. That's attention getting. That's snap to and pay attention time! Great bass line, too. Ooo... those silvery strings. I feel a tingle. Chaka-chaka guitar, too. Love the strings. This thing is set to combust. Spooky trumpet. This feels a lot more compact and intense than The Undisputed Truth's arrangement. 

Long ass intro. Whitfield's ego must not have allowed for trimming. I could do without the handclaps. Maybe. Those strings continue to ignite this thing like it's TNT. One minute and 55 seconds worth of intro? Effective instrumentation, for sure, but too long? Apparently not. Remember: this went to #1. 

Love Edwards' vocals, though they sound a bit treated. Reverb? Again, I like all the space created between the vocalist and the instrumentation. That is a tasty guitar lick thrown in there. I am enjoying the interplay between Edwards and the guitarist, which is something typically found in jazz, not pop. 

Huh. We hit the chorus and I expected more gush when the full group sang. Well, it's not like we don't have time to get there eventually, right? That guitarist is selling this thing. It's not my favorite sound, but works incredibly well here, strung and plucked tight, it adds to the tension. 

Love that ghostly trumpet. Again, the hand clapping is a bit much. Oh, my that bass voice. I wonder if instrumental interplay like this will ever be in vogue again. Second chorus, the group is more present. I like where this is going. The handclapping finally works. "Uhh." Love it. That trap set just keeps things moving. The strings, the guitar, the ghostly trumpet, the handclaps, all are as much a part of this as the vocalists. You can hear that they all have something at stake here. So much creativity on display.    

Oh, that falsetto. I'm undone. You just know that when he stepped forward to sing this part the audience absolutely would lose their shit. And he keeps carrying the day. Edwards is back sounding like Marvin Gaye. I am loving all this. It's like watching a stage play. Handclaps work for me a second time. 

When those strings stat their descent, you know that this is fully cooked. 

The Verdict

I think Norman Whitfield is a genius. Listening closely to these two songs can see the drama he brings to the table by making each instrument a character; very similar to what is frequently found in classical music. His influence on pop music is immeasurable. You know that the likes of Michael Jackson, George Benson and Barry White studied his work like it was the Bible, because you can play spot the influence in each of their signature sounds. 

I don't know if I have the patience (or the time) to sit through a 12 minute version of either song, but I bet there are some mad moments to be heard in each. 

And The Temptations? They take both these songs, in my book. The production on both their songs tell a better story. 

I get that The Undisputed Truth ended up with the hit with Smiling Faces Sometimes, but their version doesn't come close to the magic on display in the The Temptations' version. 

The Undisputed Truth certainly does give The Temptations a run for their money with their version of Papa Was A Rollin' Stone, but I think the Temptations instrumental arrangement is far superior and much more sophisticated; a bonafide masterpiece. 

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That's my two cents worth.

Okay, your turn. What did you think? Leave your thoughts in the comments section. You know how I love to hear from you. A differing opinion is always welcome. 

Until next time, thanks for reading... and listening!

Papa Was A Rollin' Stone - The Temptations

Papa Was A Rollin' Stone - The Temptations

Album Version

Smiling Faces Sometimes - The Undisputed Truth