Funk Brothers stand in shadows of Motown

Standing in the Shadows of Motown directed by Paul Justman, based on book of the same name by Allan Slutsky, produced by Justman and Allan Slutsky. Starring the Funk Brothers Johnny Griffith. Joe Messina, Jack Ashford, Uriel Jones, Bob Babbit, Eddie Willis and Pistol Allen 2002.

In 1989, Paul Slutsky wrote a book entitled, Standing in the shadows of Motown. There, Slutsky profiled the legendary bass player, James Jamerson's contribution to many of the great Motown records of the 60s, Jamerson, a groundbreaking bassist, was a tormented genius, who laid down a bass line which carried r&b music into a more sophisticated and deeper groove. Jamerson was but a pan, albeit a major one, of the house band which played behind all the major Motown groups in the lute 50s and early 60s--Smokey Robinson and the Miracles. the Supremes, Martha and the Vandellas, the Temptations, Marvin Gaye and Steele Wonder. The hits are all recognizable--"My Girl" "Road Runner," "I Heard It Through the Grapevine." being three of the most played. That music has become part of the fabric of 20th century music, for a number of reasons. Mostly, because it was catchy, danceable and because baby boomers culturally still rule the airwaves and "blasts from the past" are still a big part of radio formats everywhere.

By the time the movie Slutsky's book got to the screen, and premiered in the Toronto Film Festival in September 2002, Jamerson's story had morphed into the story of the Funk Brothers, the remaining members of the house band. The movie is at its best when the members speak for themselves. Many are inarticulate but they too have a story to tell. largely about the joy of making music together, a music which crossed racial barriers an brought a lot of joy to people. Among this group is white bassist, Bob Babbit, who with tears in his eyes, said that while he was protected by the black members when Detroit exploded in a face riot in 1966, "had the shoe been on another foot. I'd have taken a bullet for these guys." It is one of the most affecting moments of the film.

The point of the film is simple. These gifted musicians played on more hits than the Beatles, Elvis, The Stones and the Beach Boys put together. In effect, although their names were largely unknown to the public, they were the greatest hit machine in the history of pop music. In this sense the film is an act of redemption, it modest attempt to reclaim the respect owed to these musical foot soldiers, who largely toiled in anonymity as the Motown hit factory, cranked out hit after hit. Original pianist Ivory Joe Hunter, whose hit single, "Since I Lost You Baby," (which I bought in 1956). says without rancour, "when the smoke cleared we had nothing to show for it."

The anecdotes are warm and humorous and of course, the music speaks for itself. Director Paul Justman intersperses original clips with the Funks hanging out together in different venues, in particular, the "Snakepit," the basement studio where they made the magic happen, Throughout the film we watch contemporary artists take a shot at some Motown classics as the Funks provide the groove. And the kids are damned good. Joan Osborne's rendition of Jimmy Ruffin's, "What Becomes of the Broken Hearted" is both riveting and soulful, proving once again that skin colour is not a requisite for getting inside of a song. Meshell Ndegeocello beautifully understates the Temptations Cloud Nine and Gerald Levert smokes Junior Walker's "Shotgun" and the Tops" "Reach Out I'll be There" (aided by veteran alto player Tom Scott). The one contemporary artist I did recognize wax Ben Harper who masterfully interprets Marvin Gaye's and Gladys Knight's "Grapevine." Harper is particularly impressive in his homage to the veteran players.

Despite the mediocre narrative, the film is both musically and emotionally satisfying. The obvious affection that these wonderful players still have for each other is touching and the music, exemplified by clips from their weeklong Detroit concert in 2000, is still impressive. As I write the Funks are back on the road, playing midsize halls around North America including Toronto's Massey Hall on April 16.

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