Early Life & Musical Roots

Born in Detroit, Paul Riser grew up surrounded by the rich sounds of gospel, blues, and jazz. He began playing trombone as a child and quickly demonstrated an ear for harmony and orchestration. As a graduate of Cass Technical High School, Wayne State University and later the Detroit Conservatory of Music, Paul laid a foundation that would lead to his historic role in American music.

The Motown Years

In the early 1960s, Riser joined Motown Records as a staff arranger. He became a behind-the-scenes force, arranging hits for The Temptations, Stevie Wonder, Marvin Gaye, Diana Ross & The Supremes, Smokey Robinson, and countless others. He was also a member of The Funk Brothers, Motown’s fabled house band.

Defining the Sound

Riser’s signature sound—lush strings, dramatic horn lines, and sensitive dynamics—helped define the Motown aesthetic. His work transformed pop songs into timeless recordings.

Later Work and Accolades

Even after Motown’s move to Los Angeles, Riser remained in high demand. He won a GRAMMY Award for co-arranging “Papa Was a Rollin’ Stone,” and worked with artists including Luther Vandross, Anita Baker, KEM, Phil Collins, Quincy Jones, Raphael Saadiq, Stephanie Mills, and R. Kelly (on the hit “I Believe I Can Fly”) and many more. Riser's work in film and television include, "Car Wash," "Bamboozled," "Space Jam," "Standing In The Shadows Of Motown,"" Four Brothers," "Which Way Is Up" and "Mother, Jugs and Speed."

Personal Note

“Music shaped me long before I ever walked into Motown. I always remember Detroit being a city of grit and grace, of ambition and rhythm—where the auto plants roared by day, and the jazz clubs hummed by night. I was lucky to be raised in a place where music flowed through the streets like oxygen. My classical training gave me discipline and a deep respect for structure, but Detroit gave me soul—and Motown gave me the opportunity to blend both into something timeless.

At Hitsville, we were surrounded by genius—from the Funk Brothers in the basement to Marvin, Stevie, and Diana in the booth. It was a family and a factory, all in one. Every chart I wrote was an extension of where I came from and what I’d learned—equal parts Beethoven and backbeat. The Motown era wasn’t just a chapter in my life; it was the heart of it. And I carry that sound, that city, and that legacy with me every day.”