Customer Reviews

Standing in the Shadows of Motown

5 star:		(58)
4 star:		(9)
3 star:		(2)
2 star:		(2)
1 star:		(3)

 

 

Well, well. A very interesting review we have here in "An Insult To The Funk Brothers," so if I may be permitted, I'd like to explore it a bit. I'm not the producer of the film or soundtrack but I did work on the project and know all the "behind the scenes" details.

First let's look at the concept of "untarnished live performances." Where in the film or related PR material have the producers stated that these were live performances? This was not a concert. It was six straight days-one artist per day-of recording and filming. Each song was taken five or six times with an invited audience watching and understanding that we would be stopping and starting, just like in any film. These were individual scenes-not parts of a continuous live concert. These performances were no different than a studio session. The only difference was that they happened to be on a stage in front of an audience. The Royal Oak Theater was treated as a soundstage for a film shoot-not a concert.

Secondly, even if it was a "live" concert performance, with the exception of James Brown's `Live At The Apollo' and a few other early live albums, all live albums are edited and corrected when possible. The desired result is good sounding music that moves you-not rigid authenticity to a concept of "untarnished live performances." Most of the most celebrated live albums of all time have been doctored to death. By comparison, `Standing In The Shadows Of Motown' has very few added parts (other than strings) when compared to other live albums. As for the added vocal parts you claimed are "slathered on" to the live tracks of "What Becomes Of The Brokenhearted," you're dead wrong. All those parts were sung live by the four background vocalists and every time there's a close up of them, they sync up perfectly with the
picture.

I find it interesting that the objection to hearing a string section that can't be seen in the film is not echoed in hearing horns on "You've Really Got A Hold On Me" that also can't be seen. (They were actually there in an isolation booth on the side wall of the Snakepit.) I also find it interesting that "Reach Out" was brought up as an example of editing two
performances pieced together with "scotch tape"-the justification for this conclusion being the ears of the critic who hears a jump in the tempo. There are actually a few tracks which have edits from other takes. "Reach Out" is
not one of them. That performance is a complete and continuous single pass. The jump in tempo that was referred to is the natural ebb and flow of live musicians who breathe, and occasionally speed up and slow down. If you want metronomic
regularity in your tempos, buy a drum machine or listen to click-track disco.

So let's get into the concept of the added strings. The same strings are heard both in the soundtrack CD and in the film. If I were to lie and tell you the strings were in the concert hall but were situated in the orchestra pit or were placed offstage, the "untarnished live performance" argument would be rendered moot. The fact is, the stage was too small and cluttered to have a dozen strings added to the already overcrowded visuals. They couldn't be in the picture and would have had to be out of sight, offstage. At that point, there's no difference between them being a studio overdub at another time or a live feed to a remote location in the theater. They're still just reacting to what they hear in a set of headphones. At Motown-with the exception of some very early sessions-the strings were always an overdub anyway. How is this different? In fact, Motown doctored, edited, and overdubbed to death many of their most beloved 60s masters so the "untarnished live" authenticity wasn't even there in the originals.

If overdubs and editing is the criteria for this critic's objections, I find it strange that there are eight other performances devoid of the "problems" he mentions yet he fails to praise these tracks for that same "untarnished"
authenticity. Additionally, he seems to be the defender of the Funk Brothers artistic integrity even though they unanimously voted for the added strings. I guess he knows what's good forthem and how they want their music to sound more than they do.

Instead of feigning mock indignation, and if you're so concerned about the Funk Brothers welfare, don't write and post vicious, uninformed, amateur musicological critiques that hurt their chances of ever getting recognition and some financial rewards through the only album ever released in their name.

So I'll tell you what I'm gonna do. I'm going to give this CD soundtrack nine stars: five of five for my review and an extra four for the missing stars in your one star review. Now don't you feel better?

I wish I could've been there that day in Detroit when the Funk Brothers took the stage as a headlining act for the first time ever. Since I wasn't there, this CD will have to suffice. At least until the movie and DVD come out.

In addition to 12 live performances of classic Motown songs, there are 3 original Motown songs. "The Flick" was the song the Funk Brothers used to introduce themselves on stage. This tune swings like nobody's business, and really highlights how great the Funk Brothers were.

The "You Keep Me Hanging On (instrumental)" is pretty much just the song without vocals. I had no idea how much stuff was going on in that song. This is a fascinating insight into how the Funk Brothers themselves heard the songs. They would play on songs and not know the names, or lyrics or melodies which were always added later.

"Bernadette (Instrumental)" is presented in a format closer to the Standing in the Shadows of Motown book. For most of the song, the bass is solo'd left with the rhythm tracks in the right channel allowing you to hear Jamerson's playing in it's full glory. The other instruements fade in and out allowing you to hear all of the contributions by the various Funk Brothers. Again, there's a lot more going on in this song than I ever suspected.

It's interesting how 'low fi' the bass sound was on those songs. Any producer today would've thrown those sounds out. When put in the mix, however, they work.

Highlights from the live performance include "Do You Love Me" by Bootsy Collins. If you don't know, Bootsy was the bass player from Parliament. I can't help but laugh when I think of Patrick Swayze dancing to Bootsy's rendition of this song. I can't wait to see this live.

If you've seen or heard any of the trailers, you've surely heard Joam Osborne's version of "What Becomes Of The Broken Hearted" which really is all that and more.

"What's Going On" as performed by Chaka Khan restores it to it's original glory. Thank God they did this song and that P-Diddy version can be erased from our memory!

The whole soundtrack is very strong. The musicianship is second to none, I mean these ARE the Funk Brothers after all. The playing is spot on, just like you would expect it to be. More human than anything you can find in top 40 radio nowadays, this music lives and breathes and hasn't been digitally processed and re-created on a computer.

The vocal performances, while not by the original artists, are all excellent. The choice was appropriate for each song, and each performer delivers a performance worthy of the originals.

What sounds like artificial, or at least out of place audience cheering dots the CD and distracts somewhat from the performances. It neither adds to the music nor recreates the feeling of being there. The fact that the performances fade out also is disconcerting. Wasn't this a live recording? The cheering itself fades in and out, which is also somewhat disconcerting.

The production otherwise is well done and basically sounds like a studio recording. The occasional audience cheer leaks through during quiet moments and and reminds you that it is a live performance. The instruments have a more hi-fi sound than the originals, especially contrasted by the inclusion of the instrumental takes.

This CD is a must for Motown freaks like me, but then you probably pre-ordered yours. Definately look for the theatrical release in November.

Probably one of the last great untold stories in the history popular music, is of the group of musicians that played on nearly every hit record that Motown Records released from 1959 to 1971. The Funk Brothers were the engine that helped made this little Detroit record label into a cultural icon. Recorded and filmed in December of 2000, this soundtrack features the surviving members playing several Motown classics backing such guest vocalists as Gerald Levert, Joan Osborne, and Chaka Khan. Gerald Levert delivers gritty performances on "Reach Out I'll Be There" and "Shotgun", while Joan Osborne delivers one of the shows emotional high points with her interpretation of "What Becomes Of The Brokenhearted". The only artist who seems a bit out of place is Ben Harper with his performance of "I Heard It Through The Grapevine", sounding tentative and lacking the urgency and fire of Marvin Gaye's version. The band themselves are excellent. These guys are all in their 60's and 70's, and still play with the same energy they did all those years ago. One of the other highlights of the album are the instrumental mixes of the Four Tops "Bernadette" and the Supremes "You Keep Me Hangin' On". Hearing these tracks without the vocals gives you an entirely different picture and appreciation for the Funk Brothers musicianship. This project was obviously done with a great deal of love and respect for the creators of this amazing music, so Dr. Licks and the other people involved with making this happen should be applauded for their efforts. This album and the film come highly recommended.

Some of the best music ever created in the studio has been recreated live? I had my doubts. So I actually got out 22 different live records by other artist and this is without a doubt the best live music ever recorded. Bar none.
I am one picky SOB and can find fault with everything...but this is the one time I have to put my clipping comments aside and tell it like it is.
First it was a good move to add younger singers. It opens the power of the music. If you are not moved by Joan Osborne grab a cab to the closest funeral home because you are dead.
Second this is the most faithful live production of music created and recorded ever. The faithfulness gives you a hint at how really tight these men were as a musical unit. There isn't a note out of place. In fact that said should make it static..But again, it is not. It has all of the viberance per note that you would expect from a band that is in it's 20's not 60 and 70 year old men.
You don't like it? You are a punk kid that hasn't learned to play in tune and think that music started with Pearl Jam. Take note new players the bar has not been raised. You have just avoided walking up to it. You made your excuses about solo's being dead and clean sound being boreing. It's time to go take a few lessons and come back with some skill.
The Funk Brothers smoked you. Clean up you dirty ash and show us what your made of. Toss that bass system out of your trunk, because one note is not a bass line. And your turntable is just a percussion tool and not a full blown jam.
Call yourself a musician? Buy this and listen to what it takes to be called a musician.

The Funk Brothers, Motown's legendary (but largely unsung) house band, gets some love with this fun soundtrack disc. The surviving Brothers back some modern pop stars on reverent but fun covers of great Motown songs.

From Meshell Ndegeocello's silky version of "You've Really Got a Hold on Me" to exuberant versions of "Do You Love Me" (by the one and only Bootsy Collins, who also puts the funk hammer down on a...ahem!...cool cover of "Cool Jerk") and "Shotgun" (with vocals by Gerald Levert and funky sax by Tom Scott), the stars do these songs justice (though, of course, the originals are not eclipsed in any way.)

Joan Osbourne shines with a stately cover of "What Becomes of the Brokenhearted" and a spry take on "Heat Wave". Ben Harper takes on the unenviable task of trying to breathe new life into classic Marvin Gaye ("Grapevine") and Temptations ("Ain't Too Proud to Beg") tracks and he does okay.

Ndegeocello and a couple of fine background singers bring the "psychadelic" funk with a tasty version of the Temptations' "Cloud Nine".

The ever-amazing Chaka Khan finds the right groove with her smooth version of Marvin Gaye's masterjam "What's Going On" and her duet with Montell Jordan (no Marvin Gaye, of course, but he doesn't embarass himself) on "Ain't No Mountain High Enough".

The Funk Brothers (including the late, great bassist James Jamerson) take center stage on two backing tracks recorded in the 60's (an alternate take of the Four Tops' "Bernadette" opens with some very tasty bass work from Jamerson) and show why they were indeed "Motown's heartbeat".

The disc finishes with the Brothers backing organist Earl Van Dyke on "The Flick", an obscure but undeniably funky track from 1970 that lets them all stretch out and jam.

As I said before none of these versions come close to outshining the originals but they're all fun in their own right. This is a very cool disc indeed.

I saw the movie last night. If you're like me - great music moves you to tears - then bring your hanky. Yes, Joan Osborne is just terrific. "What Becomes..." was the song that made me cry openly, it was just so passionate and beautiful. The songs Gerald Levert does also work well, but most of the rest of the performences are okay at best. MeShell, a fine bassist and decent singer on her CDs (of which I own one), fails at her attempts to reinterpret her songs. I appreciate her attempt to bring out the darkness in some of the lyrics (which were originally sang with a smile despite the dark themes) - but she just doesn't commit enough passion to her singing. And her choice to sing the lyrics off-tempo to the beat just do NOT work. Chaka Kahn is unimspired, Montell Jordan doesn't do much for me, Bootsy is fun but inconsequential.

Buy this to hear Joan Osborne's relevatory takes on these classic songs and to help the Funk Brothers makes some money. And see the damn movie!

This cd is essential for any fan of soul music and for any bass player. James Jamerson is called "the greatest bass player of all time" in an introduction on the cd and that is not far from the truth. His bass lines were pure genius, the essence of many Motown hits and his influence remains many years after his death. This album presents great live versions of the some of the best of Motown plus a couple instrumental remixes from the Motown vault featuring The Funk Brothers rhythm section along with The Funk Brothers theme song. Every track is outstanding and the vocals by various artists are surprisingly good. Joan Osborne would not have been my choice but she does a super job as does Chaka Khan, Ben Harper, Gerald Levert, and Montell Jordan. Two of the best living bassists, Bootsy Collins and Meshell Ndegeocello, sing instead of playing bass, and pull it off quite well. The arrangements stay faithful to the style of the original songs and the live performance actually sounds better that the original version in many instances even though Marvin Gaye and the great Motown singers are missing. The song selection is the best of Motown soul--no Jackson Five lightweight pop. Many of the Funk Brothers, including Jameson, are no longer with us but their sound survives on this album. Bob Babbit, almost without exception, faithfully reproduces Jamerson's great bass lines and the band revives the Funk Brothers sound on this classic cd.

I gotta say I was a little hesitant about hearing new versions of original classics that we all know and love. But after seeing the film, I raced out to buy the cd. The music is performed with so much love and soul. Literally the whole theater applauded this film at the end. Joan Osborne's rendition of "What Becomes of the Broken Hearted" brought tears to some of the people. Thank God, the Funk Brothers finally got their due. Sorry to keep bringing up the film in comparison with just the cd, but the ending where they bring up photos on stage of those who have passed was extremely touching and just made you feel so uplifted that their music lives on. A great cd and a must for any Motown fan.

I actually saw the movie before buying the soundtrack. Today was the first day that the movie was out. I'll be back at the theater to see it again before the weekend is over.

Interesting -- no one left the theater until *all* of the credits had rolled. And there was a lot of applause, too. Very rare for jaded San Francisco.

The film is a mortal lock to receive an Oscar nomination for Best Documentary. Sad note: Johnny Griffin, who is in the film, died earlier this week just before the opening. Joan Osborne was a complete revelation in this movie - both of her performances (on the soundtrack) are terrific.

Fans of Motown and music should delight in terrific musicians getting their due. Shame on Barry Gordy for not highlighting them on the Motown 25 special. Even if you own all the original recordings or just think no improvements could be made to the original recordings, buy this cd for the performances of Joan Osborne and Gerald Levert!! I knew these two could sing but on these tracks, they sang! The cd is worth the price for these performances. I think these two along with The Funk Brothers could sell out venues all over the damn country! Though Bootsy Collins is fun to watch while performing, he makes no improvements on the originals. While I don't wish to impune the talent and artistry of the other singers on this cd I felt their performances were uninspired and did no justice to the incredible music of The Funk Brothers and of the original artists, with the exception of 'Aint no mountain high enough'. This is why I did not give the cd 5 stars. Let me tell you though, after watching the movie and listening to the cd and the original recordings I have in my collection, I have a much greater appreciation for the tamborine! Please see the movie and purchase the cd. To anyone related with the production of the movie or any of the talented muscians, thank you for the movie and if any of you are so inclined, please, please, please TOUR! Thanks for all the years of great music.