STANDING IN THE SHADOWS OF MOTOWN

Although until Paul Justman’s 2002 film ‘Standing in the Shadows of Motown’, the Funk Brothers were unknown, since the film their importance in musical history is still unfortunately largely unappreciated. The film’s opening titles proclaim the Funk Brothers “having played on more number-one hits than the Beatles, Elvis Presley, the Rolling Stones, and the Beach Boys combined”. Although since the film, they have won a Grammy lifetime achievement award, their role as the architects of the ‘Motown sound’ is still relatively underplayed compared to that of the record label.
The band were first assembled in 1959, by Motown boss Berry Gordy Jr. getting the musicians from the Detroit club scene. They went on to play on countless number one hits in the 1960s, however were not credited until 1971 when they featured on Marvin Gaye’s masterpiece ‘What’s Going On?’. Such hits like The Supreme’s ‘Baby Love’ and ‘You Can’t Hurry Love’, Aretha Franklin’s ‘Respect’, The Jackson Five’s ‘ABC’, Stevie Wonder’s ‘Superstition’ featured the Funk Brothers who greatly contributed in crafting the Motown sound. They used various innovative techniques to craft this sound. On Marvin Gaye’s “I Heard It Through The Grapevine” they used three drummers playing together. Despite playing a key role in this hit machine, they were not credited by Motown records. In fact they were paid a mere $10 a song. The southern soul rival label, Stax Records’ house band Booker T and the Mgs on the other hand released their own records and were encouraged to promote their own identity outside the records they played on. 
With the success of Motown records during the 1960s, they moved from Detroit to Los Angeles which deeply isolated the Funk Brothers. The Funk Brothers, as well as working for other record labels, carried on performing in the Detroit clubs and bars such as Chit Chat. Although some of the Funk Brothers moved to L.A. to try and follow Motown’s success, the move signalled the end of the Funk Brothers. 
Although in recent years their important in music has been more recognised, they are still largely forgotten in musical history. It took until 1971, with their finest piece of work featured in Marvin Gaye’s ‘What’s Going On?’ until they were credited by Motown for their vital role in crafting the music. However it appears they have since started to gain the attention they deserve for their importance within the hit-machine that was Motown records.

D TRAIN

CONGRATULATIONS

When listening to MGMT’s difficult second album, it is no surprise that the album is produced by Spacemen 3’s Pete Kember (aka Sonic Boom). His experimental, showgaze sound (which most bands now seem to adopt) have taken their toll on the much-anticipated Congratulations. The album opener “It’s Working” sounds like Silver Apples covering Love’s “Alone Again Or”. Arthur Lee-esque vocals float on top of the song whilst their new obsession of English psychedelic Prog is evident throughout the album. The album explicitly reveals their influences in making the album, even the song-titles are dedicated to their hereos such as “Song For Dan Treacy” and “Brian Eno”. The former is a song for the Television Personalities frontman whose bands’ influence is evident in the album; the loopy bass lines which fill the album clearly give a nod to the Television Personalities. The Latter is a song of praise to Brian Eno, which reveals the influence Eno has had on the band and almost offers an explanation for the album: “when I was stuck he'd make me memorize elaborate curses/ tinctures and formulas to ditch the chori and flip the verses/ my whole foundation came unglued”. Although the teachings of Brian Eno may well have furthered their musical scope, they have forgotten the reason for their success and popularity: in writing pop songs over psychedelic sounds. Although another Oracular Spectacular, with no musical progression, would have been wrong, they have tried to escape from their former success but in turn losing what made them stand out from the hordes of similar bands from America. Whilst trying so hard to re-gain underground credit by returning to their weird college personas and making an uncommercial album to please themselves, it has made the album less exciting and it fails to ever really ignite. 

GWEN

FATBACK

FATBACK BAND - I FOUND LOVIN (1984)

SEX

With the recent death of punk ‘inventor’ Malcolm McLaren, it has made me think of the importance his “Sex” Shop had on the punk movement, and whether such a clothing boutique exists today. Sex, arguably the birthplace of punk was vital for the movement. It did more than just provide the punk uniform, it was a place in which people would meet, bands would form, and music would be created. Famously, Johnny Rotten was auditioned on the shop floor, and Siouxsie Sioux and Adam Ant were regular customers. 
Although Rotten has played down the importance of McLaren in the punk movement, since “The Great Rock’n’Roll Swindle’ which tells the story of the sex pistols from Mclaren’s point of view. In this, he claims to have created the sex pistols, and have been the master puppeteer who controlled the punk scene. Whether or not his significance in the movement was exaggerated in the film, his and his store’s importance is undeniable. This has made me question whether or not such a store could exist and influence as much today in London. One of the key factors to the boutique’s success was its shock factor. It wasn’t just the 4ft pink foam rubber letters reading “SEX” outside the store, or even the graffiti filled interior marked by S.C.U.M manifestos and chicken wire that people found so thrilling, but the music it created and promoted. 
The buzz of going to the store was part of its success. This has made me question how important a part clothing stores have played in music. Although in the past they have been places in which new sounds and fashions have been born (for example, Biba, Hyper Hyper), it is unlikely that a store could have as much impact today. As indie, alternative and even punk music has become the norm, its clothing too has become less shocking than it was. Although, I am not saying that fashion has no shock factor anymore, it is unlikely that a store would be able to uphold a music scene as strongly as it did.