The Age of Commercialism

Expected more

Crappy film

An old-fashioned movie made with new-fashioned finesse.

If you were a musician at any age, or are now, you have to see this movie immediately. Many musicians who are extremely talented or unaware of their own talent and therefore don't think much of it, certainly not what other people do think of it. The Funk Brothers actually had several incarnations. However, there was always a core of musicians; keyboards, bass, drums and one and sometimes three guitars. They would back stars who went on to make lots of money, but we're simply working basically for scale. I'm puzzled by the slight attention given to Barry Gordy, as he was the visionary who guided, nurtured and gave Motown to the world, but, hey. The most amazing thing about the Funk Brothers is that four individual musicians were so highly talented that when they had enough time to play together, the achieved that rare quality that few bands do. They became one. Literally. Like the Beatles they played so much that they became one unit, musical and mutual mind readers. The music they played was well below what they were able to play as musicians. Basically most of them had jazz backgrounds and saw this as the highest form of music that they could make. However when the four of them played together, perhaps like the Beatles, the achieved a unity that made four people into one piece. This is why the Motown sound was so incredibly successful for any star lucky enough to play with these four gentleman backing him or her. Do not miss this movie.

I think the positive reviews pretty much covered what I value in this documentary. It's great to see such unappreciated talent finally get its day in the sun, the Funk Brothers are a hilarious and energetic bunch of guys in front of the camera, their stories contain plenty of wisdom and humor, and of course all of the music is pure perfection. The ground-level viewpoint of a session musician working for Berry Gordy is a very valuable addition to Motown history, especially as he did everything in his power to keep them out of it.It seems that most of the people who had problems with this movie are focused on the live performances, and particularly the choice of singers. While I found the songs worth listening to (and it was nice to finally see the guys playing together after 40 years), I suppose I'd justify the choice of singers in two ways:(1) This was a low-budget movie, and there wasn't money to bring in the likes of Aretha Franklin, Bono, or Stevie Wonder, so the producers had to take what they could get in the form of Gerald Levert, Joan Osborne, and Bootsy Collins (a fantabulous bass player and undisputed funk icon, but nobody's idea of a great singer).(2) It was a subtle attempt to prove the movie's thesis. If, indeed, the Funk Brothers were the secret ingredient in the Motown sound, what better way to prove it than to have them backing up some mostly* second-rate singers and STILL make it sound like a million bucks?* - I exclude Meshell Ndegeocello from that generalization.

Cocky jazz musicians in the Detroit area circa 1958 were recruited by fledgling Motown record label founder Berry Gordy to play uncredited back-up on songs by Mary Wells, The Temptations, Stevie Wonder, Smokey Robinson and the Miracles, The Marvelettes, The Supremes, Marvin Gaye--racking up session work on more #1 hits than all other rock and R&B groups put together. This documentary on the unsung Funk Brothers is a bit scattered about, with reunion concert footage mixed in with interviews and reenactments, but I'm a sucker for movies where old-timers go back to the haunts of their youth (which take on a miraculous glow, mitigating the rough times and the hard work spent there). It's rather presumptuous for one of the Brothers' contemporaries to say these songs would have worked no matter who was singing, but I don't think "Deputy Dawg" could have taken "I Heard It Through the Grapevine" to the top of the charts. In essence, the songwriters and the superstar groups who propelled these classics are given short shrift in favor of spotlighting the talents of these truly wonderful musicians, however the collaborative nature of Motown (or, indeed, of any major record label) is hardly touched upon. ** from ****

This film would deserve a perfect 10 rating were it not for the live performances of performers not worthy to be on the same stage as the Funk Brothers.Was Martha Reeves the only Motown performer available for the documentary? Where was Smokey Robinson, Diana Ross or the Four Tops?This film could have been so much better if it were more of a collaboration of the Funk Brothers and some of the Motown artists.The conversations from the bonus material are great. If I were an editor I would take all the Funk Brother bonus material, eliminate the live performances, (except when the Funk Brothers are performing as the Funk Brothers) and add the bonus material to the film.I did not like the dramatizations with actors. If the performer is deceased let them rest in peace. Do not recreate a scene because it was worthy of mention in the film. It is a shame James Jamerson, Robert White and Benny Benjamin were all gone when the film was released. At least Robert White had a chance to add some of his insight. I think the Robert White interviews were my favorite part of the film. I really admire this man.I am glad this film is in my collection but it could have been so much better.