I Heard It Through the Grapevine: Tax Problems for Norman Whitfield - Page 2

Whitfield came into his own with the classic “Ain’t Too Proud to Beg.” Benny Benjamin’s crisp drum intro commands the listeners’ attention as David Ruffin’s abject first line is wrenched from his soul: “I know you want to leave me, but I refuse to let you go.” The songs bounces along jauntily behind the fabulous Funk Brothers, the Motown house band, with the Tempt’s twirling and gesturing as Ruffin pleads for his relationship, and perhaps, his life. His friends lend concerned support on the chorus, but Ruffin’s regret-strained voice tells us that he is ultimately alone - so, so alone. This is on the other side of the universe from the satisfied pop of “My Girl.”

“Beauty Is Only Skin Deep,” and the passionate ”(I Know) I’m Losing You” and “I Wish It Would Rain” also featured Ruffin on lead as the hits continued. Firmly established as the Temptation’s writer/producer, Whitfield kept up the Motown tradition of cross-pollination when he and Barrett Strong wrote “I Heard it Through the Grapevine,” which sold 2.5 million copies and reached No. 2 for Gladys Knight and the Pips in ‘67. Whitfield let the group contribute its smoking uptempo vocal arrangement featuring Knight’s churchy soul-belt call, and the Pips’ empathetic, indignant response. Whitfield also produced the Knight hits “Friendship Train” and “The Nitty Gritty.”

In one remarkable week in October ‘68, Motown released both Marvin Gaye’s “I Heard It Through the Grapevine” and The Temptations’ “Cloud Nine.” Gaye’s “Grapevine,” which had been in the can for over a year, sat atop the pop chart for seven weeks.

Gaye’s version embodies all of the insinuation and intrigue inherent in the lyrics. The recording opens with a tambourine strike redolent of gypsy campfires, closely stalked by a hushed piano figure, a furtive hi-hat pulse joins in as the tambourine shudders a sibilant warning. A guitar doubles the piano, a muted trumpet rears it head and Marvin Gaye’s magical instrument wordlessly crescendos into the opening line, “Oooh, I bet you’re wondrin’ how I knew..”

With the beat made explicit and strings swirling about, commenting, embellishing, Whitfield’s arrangement matches Gaye’s thrilling vocal line for line as he sways through the stages of grief from suspicion, to anger, to hopeful denial to stunned acceptance. Had Whitfield written and produced nothing else, he would still belong in this book.

In the mid-to-late-’60s Sly Stone psychedelicized black music by combining peace, love and social conscience with gospel melodies, funky beats and rock’n’roll. Whitfield wanted to follow him onto the new vibe with the Temptations. When David Ruffin, always suspect as a team player, blew off a 1968 live performance, he was fired and replaced by ex-Contour Dennis Edwards, whose gut bucket shout was perfect for Whitfield’s trip into uncharted waters. Whitfield began to write and use the studio differently as his hair sprouted into a militant afro, and the old Funk Brothers house band began to break up.

Article Author: Eric Olsen

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