By Soulboy (213.105.236.42 - 213.105.236.42) on Saturday, February 23, 2002 - 02:13 pm:

Does anyone have any old stories and memories about the funk brothers during the glory days at hitsville USA??.
In particular i would like to hear about the guitarists; Robert White,Joe Messina, Eddie Willis, And Dennis Coffey, What were their individual contributions to the 'sound of young America'.

By david, glasgow, scotland (62.252.128.5 - 62.252.128.5) on Saturday, February 23, 2002 - 02:23 pm:

welcome soulboy.

you can also do searches thru the key on the left 'search forum', for stuff you may have missed.

By Dennis Coffey (205.188.195.190 - 205.188.195.190) on Saturday, March 02, 2002 - 12:37 am:

Hi Soulboy. I originally got hired by James Jamerson and Hank Cosby to be a member of the producer's workshop upstairs of Golden World Studios. We worked four nights a week from 7-9. We were there to help Motown producers develop new ideas. One of the first songs we worked on was Cloud Nine by the Temptations. I brought out my wah wah pedal and Norman Whitfield really dug the sound. The following week, I was in the studio with the Funk Brothers recording the song. After that I was there almost every day for four years in Detroit and three years at Motown Studios West in LA. I was always an independent agent and also worked for all labels. At Motown I brought in the Wah Wah pedal, distortion pedals, my echoplex and Condor unit. I also did many straight guitar parts like the intro on Just My Imagination by the Tempts. I also read whatever parts they had written for me. I hope this answers some of your questions.

Dennis Coffey

By Billy Wilson (152.163.194.193 - 152.163.194.193) on Saturday, March 02, 2002 - 06:09 am:

Interesting story Dennis!
Billy Wilson
Motown Alumni Association
MotownAlumni.com

By Weldon A. Mc Dougal III (68.80.164.254 - 68.80.164.254) on Saturday, March 02, 2002 - 10:48 am:

There is a book out, called Motown The Golden Years, there are a lot of storys about the funk brothers.
WELDON

By Carl Dixon London (62.31.40.173 - 62.31.40.173) on Saturday, March 02, 2002 - 03:22 pm:

Weldon

I just got delivery of the book, yesterday. Excellent reading. I must have spent 2 hours flicking through it last night. Once I have got my teeth in to it, I will no doubt, have some questions for you. I could start with that photo of you in the preface! What does the 's' stand for that is embroided on your shirt - he he?!

cheers

By phillysoulman (152.163.204.189 - 152.163.204.189) on Sunday, March 03, 2002 - 01:14 am:

Hi guys,

Its the birthday boy here!! I too received a copy of Motown The Golden Years that Vonnie bought me for my birthday. I can't wait to get into it as I am a voracious reader.
I was truly surprised. It's better than a pair of underwear!!!

By Soulboy (213.105.230.58 - 213.105.230.58) on Sunday, March 03, 2002 - 01:37 pm:

Thank you Dennis, for your answering, i have always felt the guitarists at hitsville were a very underatted lot, i admit during the early years they were mixed into oblivion, and limited to playing the backbeat, but as the 60's progressed, more emphasis was put on the guitars so by the time of temptations cloud nine they could be more clearly heard in the mix.
Perfect examples of their talents are on Gladys knight and the pips: the nitty gritty and the fever in the funkhouse by James Jamerson. Real deep rooted funk guitar which must have been way ahead of its time. anyone out there have any information who played on these and who is responsible for that ultra funky type guitar riff? I would suspect more than person.

By Dennis Coffey (205.188.200.48 - 205.188.200.48) on Sunday, March 03, 2002 - 03:46 pm:

Hi Soulboy. I did the intro to Nitty Gritty and co-wrote and played on Fever in the Funkhouse with Jamerson. Eddie Willis also played a funky part on Nitty Gritty.

Dennis Coffey

By Soulboy (213.105.234.161 - 213.105.234.161) on Sunday, March 03, 2002 - 04:31 pm:

Thank you again Dennis for your answer,if i might say it is an absolute honour for someone like you to answer my questions.
Eddie Willis must have been an extremely talented R&B funk guitarist judging by 'nitty gritty'.No doubt the upcoming film "standing in the shadows of motown" will give him some long overdue recognition.
What do you know of Robert white and Joe messina?
were they lead or rhythm or a combination of both.
What guitars did they use?

By Poly Esther (205.188.197.181 - 205.188.197.181) on Sunday, March 03, 2002 - 04:51 pm:

Dennis,

I have read somewhere that you played a Gibson Firebird. Is that a fact?? Were they humbuckings?
That thing really cut through.
Did you play any other models??

By Dennis Coffey (64.12.105.171 - 64.12.105.171) on Sunday, March 03, 2002 - 06:41 pm:

Hi folks. I worked with Eddie, Robert and Joe all of the time. Eddie also started out playing a Gibson Firebird but it got broken so he bought a Gibson 335 and used that on most of the sessions. Eddie was one of the funkiest players around. Joe was the original Fender guy. He always played a Fender Telecaster. Joe could sight read anything and played excellent jazz. Robert played a Gibson L5 and used his thumb instead of a pick. Robert also read well and played a lot of good rhythms. I put humbucking pickups on my Firebird for a minute but went back to the orginal pickups because the humbucking pickups wouldn't cut through. I was also the guitar special effects guy. I used a Gibson Byrdland for jazz gigs and a Gibson 345 for the west coast Motown sessions. I had the 345 Stereo converted to mono in LA. I still use these guitars. When we worked at Motown, there was always at least three of us on guitars. We always divided up the guitar parts to make it easy on ourselves. We were a great team and had a lot of fun together!

Dennis Coffey

By Soulboy (213.105.234.32 - 213.105.234.32) on Sunday, March 03, 2002 - 07:34 pm:

Dennis
Its really good that judging by the "standing in the shadows of motown" trailer film, Eddie and Joe have lost none of their talent with the passage of time.(you can't say that of certain rock stars i could name).
I always thought that you guys sounded best on Norman Whitfield sessions. as the mix would emphasise the guitar lines more clearly. Cloud nine being the perfect example where you hear up to four (or maybe even 5) different guitar lines in process.
Stevie Wonder records were also showcasing the guitar more clearly like "for once in my life" and "my cherie amour".
How long would it take you to complete a typical session and many songs were made in a day (on average)?

By Dennis Coffey (64.12.105.166 - 64.12.105.166) on Sunday, March 03, 2002 - 09:03 pm:

Hi Soulboy. We usually recorded three or four songs every session which lasted three hours. We usually did two sessions per day. Norman's songs took longer because because they were longer and Norman was trying to cut something different. I think for once in my life and my cherie amore was probably Eddie, Robert and Joe. We usually got six or seven songs a day.

Dennis Coffey

By Ralph Terrana (209.240.222.130 - 209.240.222.130) on Sunday, March 03, 2002 - 09:14 pm:

Soulboy,
there was a musician's union ruling that stated sessions could only last 3 hours before going into over-time. Also, there was a limit on the number of sides during the session. 3 of 4 I think. Dennis, you would know this I'm sure.

By phillysoulman (205.188.199.163 - 205.188.199.163) on Sunday, March 03, 2002 - 09:18 pm:

Hi Dennis,

Bobby Eli here. You know that I was your counterpart in Philly, the all around "Swiss Army Knife" of guitarists, and one of the few "white" rhythm guys, although no one considered me "white"
I was the wah-wah man, sitar man, fuzz man, everything man. Whenever a gadget came out , I got it. I even had the Condor unit but I never could get any decent tone out of it. I shlepped along to a Three Degrees gig in Bermuda once. It looked impressive and their manager was none the wiser.
I practically destroyed my Berney Kessel model that I attached it to. It is somewhere in Sigma's storage closet(former echo chamber)
I even have a Fender Jazzmaster, "surf" axe.
Most of the time the main axe was a '71 Les Paul, although I have a '57 gold top.
I just started playing Strat about 7 years ago, believe it or not!!!

By phillysoulman (205.188.199.163 - 205.188.199.163) on Sunday, March 03, 2002 - 09:28 pm:

In Philly, there was no reason to cram so many songs in one day. It took how ever long that it took, which was good for us relative to the union scale. There were times when we may have spent all day one one song and come back the next day to recut and wind up using the first days work. Backstabbers by The O'jays comes to mind.
The main producers, Gamble and Huff, myself, Baker Harris and Yound Thom Bell, Bobby Martin, never rushed to cram any specific number of songs in. There were the odd "outsiders" usually hyperactive New Yorkers, who were used to rushing, that would try to cram. Otherwise we took our good old time and noone complained.

By Ralph Terrana (209.240.222.130 - 209.240.222.130) on Sunday, March 03, 2002 - 09:59 pm:

Bobby,
Talk about going back to the original. Norman Whitfield had just completed all the recording on a Temptations song and would be ready to mix with Russ. Russ stopped by the studio that night to see how Norman was doing. Norman asked him if he could make a rough mix for him to listen to at home and although Russ was exhausted from a long day of his own, did a quick rough mix for Norman. Over the next days they proceeded to mix the song and, in the end, would use that first rough mix as the finished product. The song was Just My Imagination.

By Soulboy (213.105.232.205 - 213.105.232.205) on Sunday, March 03, 2002 - 10:28 pm:

Dennis

Despite the stories about the camaraderie and friendship among the guys. The atmosphere in the studio must have been very stressful to produce so many quality records in such a short space of time. Did anyone crack under the pressure? or was this key to the succesful formula.

By Ritchie Hardin (62.254.0.6 - 62.254.0.6) on Sunday, March 03, 2002 - 10:32 pm:

Hey Bobby

However long "Backstabbers" took to cut - it was sure worth it. Even this many years on, it's still a stunning record, and still gives me that same thrill of excitement each time I hear it.

By Dennis Coffey (152.163.201.214 - 152.163.201.214) on Monday, March 04, 2002 - 12:50 am:

Hi folks. Under union contract, you could record up to four songs here. Berry had the Motown recording process down pretty good. We always got at least three songs per session. We didn't consider it that stressful, we were having too much fun because we worked with the same people all of the time - musicians, arrangers, producers etc. Bobby, it sounds like you were doing the same kinds of special effects I was doing. I used the Condor on the solo Smiling Faces by the Undisputed Truth and Don't Knock my Love by Wilson Pickett. I had a Gibson 335 converted to fit the unit. I recently had it converted back. I guess I can't stand getting rid of my guitars because I still have so many of them. I did sell my Coral Sitar.

Dennis Coffey

By phillysoulman (152.163.204.179 - 152.163.204.179) on Monday, March 04, 2002 - 03:27 am:

Yo Dennis,

How much did you get for the sitar?
I recently saw one at Sam Ash and they wanted $2700 for it.Would you believe it!!!
I think back in the day they were about $300, maybe less. I paid about $150for my condor unit from a guy in 1971. There was a thing called the Bellzouki as well, and it was sort of a 12 sting mandolinnish kinda thing, also invented by Vinnie Bell.

By acoooclat (211.72.121.66 - 211.72.121.66) on Monday, March 04, 2002 - 04:06 am:

Hi Dennis
How many of those Motown session guys were willing to do outside work for the likes of Ed Wingate and Ollie?
Graham

By Soulboy (213.105.236.17 - 213.105.236.17) on Monday, March 04, 2002 - 07:18 pm:

acoolcat

check out allmusic.com, do a search on Earl van Dyke, there is some information on some of the records they played on for outside companies.
I Understand these sessions were 'illegal' as far as motown was concerned,and the musicians would be 'fined' hence the lack of detail available, but judging by the information on this site and other references i would say the vast majority of them.

By Dennis Coffey (205.188.195.201 - 205.188.195.201) on Monday, March 04, 2002 - 11:11 pm:

Hey Bobby. I sold my Sitar back in the eighties for 300 bucks. Hey Coolcat, I did a lot of late night sessions at Golden World with Jamerson, Eddie Willis and even one with Benny Benjamin. I think Mike Terry and Jack Ashford worked at Golden World. I had the entire funk brothers rhythm section plus Bob Babbit on bass on my hit Scorpio. Are you back in Taiwan?

Dennis Coffey

By Jeff (151.203.6.162 - 151.203.6.162) on Tuesday, March 05, 2002 - 12:54 am:

SOULBOY,
During his early tenure, Johnny Grifith was hired by the Motown hierarchy not only to play on keyboards but to spy on the "Snakepit" musicians and report their moolighting escapades. He played Sgt Schultz," I SEE NOTHING AND I KNOW NOTHING"
a/k/a/ Hogan's Heros. He took Motown's scratch and told them "nothings goin on" outside the studio, all the while, he was hangin with "The Cats" from the West Grand studio and playing with them on projects he was supposed to rat out.

By acooolcat (211.78.0.219 - 211.78.0.219) on Tuesday, March 05, 2002 - 02:03 am:

Hi Dennis - Yes, I'm here in Taiwan - enjoying the sunshine!
Soulboy - thanks for the lead. I guess the Funk Brothers played on a lot of sessions around Detroit. I know about Golden World/Ric-Tic, but I think they would have also been at Correc-tone, Giant, Sidra etc'. & played on those short lived ventures that issued just one or two 45s, such as H.I.B and (maybe) Bonnie.
I know Dennis played on most of Harry Balk's Impact/Inferno recordings, some of the Golden World and Ric-Tic stuff; I'll Bet You (T Lindsey) and You're My Mellow (E Starr) plus The Magnetics (Lady In Green) and the Jack Montgomery recordings.
Dennis - were there any "Motown" guys who didn't do outside work? I don't think they were actually "Illegal" - just forbidden by Berry. From what I've been told most of these guys weren't under contract to Motown. It was the same with The Andantes.
Best wishes, Graham

By soulboy (213.105.238.217 - 213.105.238.217) on Tuesday, March 05, 2002 - 03:29 pm:

Dennis

Was that you on the sitar playing the intro to'no matter what sign you are' by the supremes.
it's a pentatonic type riff.
Am i correct in saying that motown used 12 string guitars on a few of the tracks or was that the effect created by playing two guitars, one played an octave higher that the other?

By Dennis Coffey (64.12.105.159 - 64.12.105.159) on Tuesday, March 05, 2002 - 11:34 pm:

Hi Graham and Soulboy. I had a 12 string and Motown had an electric sitar and I don't remember who played on No Matter. We also played different guitar voicings that could also sound like a 12 string. Sometimes I have to hear a song to tell if I played on it or not. The one musician I didn't see on outside sessions was guitarist Joe Massina. I saw Earl Van Dyke once or twice plus he played on my Scorpio album. I only saw Jamerson a few times and Benny Benjamin at Golden World once.

Dennis Coffey

By Ian W (213.122.180.30 - 213.122.180.30) on Tuesday, March 05, 2002 - 11:42 pm:

Dennis

Your 'Scorpio/Sad Angel' did it for me!

I heard it on the local radio when it was released and ran into town to buy a copy. When I got home, I found to my dismay that I had lost the record. I had to run down to get another!

Ian

ps. I keep a tighter hold of the singles these days!

pps. Didn't someone sample your guitar work on Scorpio in recent years?

By Dennis Coffey (152.163.201.49 - 152.163.201.49) on Wednesday, March 06, 2002 - 01:51 am:

Hi Ian. So far I have been sampled by Public Enemy, LL Kool J,Young MC, Rage Against the Machine and others. They have sampled Scorpio, The Theme from Black Belt Jones, Getting it On and Garden of the Moon. I did get some money from it.

Dennis Coffey

By Ian W (62.172.135.35 - 62.172.135.35) on Wednesday, March 06, 2002 - 07:45 am:

Dennis

That's good to hear! So many songs are sampled these days without credits to the writers/artists and no doubt without any money exchanging hands.

Ian

By soulboy (213.105.236.246 - 213.105.236.246) on Wednesday, March 06, 2002 - 09:04 pm:

Dennis

At what stage in the recording process were the guitar tracks added. were they after drum, bass,and vocal etc. Were there any rules on what went first onto the recording track' or would this vary depending on what producer was in charge

By Dennis Coffey (205.188.200.24 - 205.188.200.24) on Wednesday, March 06, 2002 - 10:49 pm:

Hi Ian and Soulboy. On the Renegades CD, by Rage Against the Machine, they actually gave me credits on the CD cover. Most of the tracks we used to do, the entire rhythm section, guitars, bass, drums, keyboards and percussion were all recorded at the same time. Then they did either lead vocal overdubs, then horns and then strings. Then they added background singers. They could change the order of the overdubs, but the rhythm section set the tone of the record and had to come first. That was the process. Today, they usually do drums loops and synth and then add different instruments or samples one at a time.

Dennis Coffey

By phillysoulman (152.163.197.47 - 152.163.197.47) on Thursday, March 07, 2002 - 12:29 am:

In my humble opinion,the way music is done today, for the most part is devoid of "soul" and the thing that set our generation's music apart was the interplay in the studio by the rhythm section.
In Philly for instance, certain producers had their particular m.o. in the studio.
Thom Bell was the strictest insofar as writing every note evrn for the drums. Earl Young, by the way did not read music, but got the hang of it by osmosis and figured it all out by association.
In fact, one day during a Stylistics session he "read" a fly that lighted on his music!!
I always did the sitar parts, and the backbeats and Norman Harris did the Wes Montgomery type octaves and the mellow chords on an axe only he could play, as the strings were flat wound and the action was higher than usual.
Once in a while let me slide with a lick of my own as in the fuzz-wah on Then came you or the quasi pedal steel part on Sadie.
Gamble and Huff were much less regimented as they had xeroxed chord charts that Norman or myself would write and pass around, usually with certain figures written and subject to change.Norman Harris sessions and my sessions were the most "fun" and livelier and open to more suggestion and experimentation and we would bring in wine, weed , sometimes someone had other contraband but not I!! Salsoul Records was notorious for that sort of thing.

All in all we had a blast during the "heyday" and I feel blessed that I was chosen to be among the chosen ones who created that musical legacy!!


Eli

By Eva (207.172.11.150 - 207.172.11.150) on Thursday, March 07, 2002 - 01:45 am:

Hi Dennis!

This is my first time to this site (I found it via a site called Bassland.net) and I just want to tell you how much I love your music over the years. I was born in 1960, when the Funk Brothers were doing major funk damage to the masses, so I grew up loving Motown. Being a product of the 70's, it was your music that I jammed to on my little phonograph in my bedroom! "Scorpio", "Taurus", and you on Soul Train...brings back the wonderful times when bands were BANDS and music was music.

Thank you for the memories and it's an honor to speak with you.

Eva

By jack ashford (67.32.80.2 - 67.32.80.2) on Thursday, March 07, 2002 - 06:27 am:

Hi folks, Iwas just looking at a web site about Motown records, and I saw something that I want to clear up. The person that wrote the piece was talking about a reunion that was held honering the What's going on album, and he said that on the beginning of the song you could hear Lem Barny say What's your name,that was Eddie Bongo Brown that said that . And the words Whats happening , That was Eddie Bongo also. Lem Barney was not in the studio when the session was cut. I know because I was on the date and Iwas looking at Eddie when he said those things, because Marvin asked every one to start some small talk after he had the take that he wanted. and I was useing the same mike that Eddie was useing.Barney must have done his part at another time, but he can be heard on the song.I just wanted to set the record right. for Eddie. Jack .Ashford

By soulboy (213.105.232.107 - 213.105.232.107) on Thursday, March 07, 2002 - 03:59 pm:

Jack

I once read that the "what's going on" sessions were the last ever recorded at hitsville by the funk brothers. How true is this??

By soulboy (213.105.237.249 - 213.105.237.249) on Thursday, March 07, 2002 - 06:00 pm:

Dennis

Earlier we mentioned about the work of various funk brothers for other record companies, but surely when some of you guys played on Invictus records for HDH that must have caused great anxiety among the senior management at hitsville,as the HDH - Motown lawsuit was ongoing at the time. How did they react? I suspect they must have known just by listening to those records.

By detroit gal (63.85.105.9 - 63.85.105.9) on Thursday, March 07, 2002 - 07:36 pm:

Jack -- who was it who wrote that it was Lem Barney? If it was Ben Edmonds, he might have had it in the book he just wrote about the sessions. If so you should write to the Free Press about it; they reprinted several chapters from that book.

You are the living record, you should set it straight wherever you can.

By Dennis Coffey (152.163.194.208 - 152.163.194.208) on Thursday, March 07, 2002 - 11:46 pm:

Hi Eva. Thanks. I'm glad you like my music. Hey Jack, how are you doing? Did you tell the folks it was you and Bongo talking in the background on Scorpio? Hey Soulboy. I was the only Motown guy over at Tower studios. Motown asked me not to record for HDH. I told them, I wasn't on their escrow program and wasn't exclusive so I would record for anyone I pleased. I was a little hot headed in those days, so I told them if they didn't like it, don't call me. They didn't call me for two weeks and then I was back at Hitsville. Motown paid me scale and a half for the sessions I did in LA. I had no complaints with Motown. They generally treated me all right as an independent.

Dennis Coffey

By John Lester (213.122.202.231 - 213.122.202.231) on Friday, March 08, 2002 - 05:28 am:

The last full album recorded at Hitsville was Junior Walker's album...issued in the UK but not in the States.

The last tracks recorded at Studio A were from the Commodores (Machine Gun album) and Undisputed Truth (Down To Earth album) and Erik & the Vikings.

By soulboy (213.105.228.183 - 213.105.228.183) on Friday, March 08, 2002 - 10:44 pm:

Does anyone Know what the 'Funk brothers' did when Motown finally left Detroit? What happened to Jamerson has been well documented, Bob Babbit became an in demand bass player. but what of the guitarists and the drummers and keyboard players?? So far my research has uncovered very little.

By Dennis Coffey (205.188.200.27 - 205.188.200.27) on Friday, March 08, 2002 - 11:42 pm:

Hey Soulboy. Jamerson moved to LA and did some sessions. Bongo went to LA and toured Germany with Marvin Gaye. Earl I think went on the road with Freda Payne. I went to LA in 1973. Bob Babbit and Andrew Smith were in my road band for a year in 1972 and then they moved to do sessions in New York. Eddie Willis went on the road with the Spinners or the Four Tops. Robert White later moved to LA and did some sessions out there. Joe Massina stayed here and Pistol and Urial stayed here as far as I know. Jack Ashford moved to Memphis. Johnny Griffith eventually moved to Vegas and Eddie Willis now lives near there in Mississippi.

Dennis Coffey

By phillysoulman (152.163.204.188 - 152.163.204.188) on Saturday, March 09, 2002 - 12:40 pm:

The very last time that I remember seeing Jamerson in "close quarters" was in the mens room at the Carter -Baron theatre in DC in 1977, where he was playing with Aretha. My act, Impact with Damon Harris was the opening act.This was an outdoor kind of venue similar to the Greek Theatre in L.A.
I could not believe that he was right there taking a "wee"He was also visibly "happy"

By Dennis Coffey (64.12.97.11 - 64.12.97.11) on Saturday, March 09, 2002 - 01:27 pm:

Hey Bobby. One of the last times I saw Jamerson socially was when I had been living in LA for about a year. He calls me up and says he and his family would like to come over because they just moved out to LA. I lived in the valley. Jamerson said he'd be there at 6pm. 6pm came and went and no Jamerson. Finally we were almost in bed at about 9:30 and I hear a knock on my front door. It was Jamerson, Anne and the kids. They must have gotten lost. We had a nice visit. I used Jamerson on my Instant Coffey album for Sussex. As usual, he played his ass off.

Dennis Coffey

By Ritchie (62.254.0.6 - 62.254.0.6) on Saturday, March 09, 2002 - 01:30 pm:

Bobby

I DO apologise, but I roared like hell when I read your last posting....

If you read it the wrong way, it says:

"I remember seeing Jamerson... ...in the men's room... where he was playing with Aretha."

Sorry, but I couldn't help it. (I'm just going off now to wash my mind out with soap and water!)

By John Lester (213.1.134.59 - 213.1.134.59) on Saturday, March 09, 2002 - 01:54 pm:

Ritchie...you have a mind like a sewer!!

It wil take a bit more than soap and water, try bleach!!

By soulboy (213.105.238.201 - 213.105.238.201) on Saturday, March 09, 2002 - 02:35 pm:

Dennis

Once again i'd like to thank you for your input to this forum.what was your impression of the various producers at Motown?I mean people like Smokey, Ashford and simpson, Frank Wilson. HDH (at Invictus),Who did you enjoy working for the most, and what were your personal favourite tracks back then?

By Dennis Coffey (152.163.194.189 - 152.163.194.189) on Sunday, March 10, 2002 - 04:57 am:

Hi Soulboy. I didn't work that much with Smokey as a producer. I worked a lot with Ashford and Simpson, Frank Wilson and HDH. Ashford and Simpson had the hardest charts to read. I remember when I took a solo on one of the records, Valerie told me she made sure I got album credits. This was unheard of at Motown at the time, but common in New York or LA. I think more musicians were given album credits at Motown after that. Of course I did many sessions for Frank in LA and many for HDH for Invictus and Hot Wax. I have worked with some of the best producers in the business and enjoyed every minute of it.

Dennis Coffey

By John Lester (213.122.202.6 - 213.122.202.6) on Sunday, March 10, 2002 - 07:47 am:

Hey and what about us...!!

We enjoy every minute listening to them!

By soulboy (213.105.228.131 - 213.105.228.131) on Sunday, March 10, 2002 - 01:42 pm:

Dennis

How much interaction was there between the artists and the musicians,and did many of guys actually make good friends with the artists?

Soulboy

By Dennis Coffey (152.163.194.192 - 152.163.194.192) on Sunday, March 10, 2002 - 03:42 pm:

Hey Soulboy. I think the musicians that went on the road may have made friends with the artists. I only saw the artists in the studio once in a while unless they were producers so I didn't socialize with them. We stayed in the studios and didn't go out on the road. Once in LA when I did a live concert backing up the Tempts on TV, their promotion person sent me a nice thank you note signed by all of the Tempts. I was impressed! I was just doing the job I was paid to do with the best of my ability.

Dennis Coffey

By John Lester (213.1.134.149 - 213.1.134.149) on Sunday, March 10, 2002 - 03:52 pm:

Dennis...

One of my favourite albums of all time is the Temps "Psychedelic Shack" album......

I assume you played on that album...do you recall any of the sessions....

By soulboy (213.105.228.105 - 213.105.228.105) on Sunday, March 10, 2002 - 07:26 pm:

Dennis

When you was at Hitsville did you ever meet the man himself: Berry Gordy, did he ever meet with the musicians regularly or did he rely on someone else to manage the recording process.

By Dennis Coffey (205.188.200.192 - 205.188.200.192) on Monday, March 11, 2002 - 12:42 am:

Hi John and Soulboy. I did play on the Psychedelic Shack album. I just brought all of my toys and Norman Whitfield had me do my thing. I never met Berry when I began working at Motown. I had met him once before that. (The details are in my new book, Guitars, Bars and Motown Super Stars to be released by BeeCool Publishing in London this October.) I did see Berry twice in the studio - once in Detroit and once in LA. He was with Diana Ross both times.

Dennis Coffey

By John Lester (213.122.196.52 - 213.122.196.52) on Monday, March 11, 2002 - 07:27 am:

Dennis

Are you going to allow us to get them autographed please!

By John Lester (213.122.196.52 - 213.122.196.52) on Monday, March 11, 2002 - 07:35 am:

Dennis

On Psychedelic Shack...

On Friendship Train, is that you playing when Dennis Edwards sings "listen to the guitar playing..."

And later on in that track...about 6.30 minutes Dennis says "What's happening" - I have always wondered what that was about about.

And I presume that is you on "Hum Along And Dance"...that guitar just runs away from the left to the right speakers - it's a classic.

I am sure Norman Whitfield was more than just excited when you came in with your box of tricks!!!

By Dennis Coffey (206.47.172.178 - 206.47.172.178) on Tuesday, March 12, 2002 - 12:25 am:

Hi folks. I remember doing the intro for The Friendship Train by Gladys Knight. I don't recall if I did it for the Tempts or not, I would have to hear it. If I come to London in October, I will autograph copies of my book.

Dennis Coffey

By John Lester (213.122.199.127 - 213.122.199.127) on Tuesday, March 12, 2002 - 05:16 am:

There are lots of similarities with both versions of "Friendship Train"........besides both being wonderful example of THAT MOTOWN SOUND. (shoo shoo, woo woo, woo woo) :-)

And when you come to London, can you let us all KNOW beforehand......unlike a certain person who did a book signing at a book store in Charing Cross Road in the heart of London but kept the crowd waiting so long, they thought he wasn't going to turn up. When he did arrive, he left unexpectingly early with people still waiting for an autograph.

By soulboy (213.105.230.41 - 213.105.230.41) on Tuesday, March 12, 2002 - 08:58 am:

Dennis

Who did they use on drums most frequently during your time with the company, was it Uriel Jones,Pistol Allen, or Andrew Smith. How would any producer choose between three mighty talents?
or was the selection done on an availability basis.

By Dennis Coffey (206.47.172.178 - 206.47.172.178) on Wednesday, March 13, 2002 - 01:10 am:

Hi John and Soulboy. I have done many autograph signings in stores. I would never disappoint anyone who thought enough of me to show up. Once I know for sure if I'm going to London, I will let everyone know. Most of the time I was at Motown they used two drummers - Uriel and Pistol -one played high hat and cymbals and one played snare and foot. I also did some sessions there with Andrew. Andrew played on my Going for Myself album and was in my road band. Andrew was a fine drummer.

Dennis Coffey

By soulboy (213.105.238.127 - 213.105.238.127) on Wednesday, March 13, 2002 - 09:48 am:

Dennis

Did you record the guitars (and other instruments)through amplifiers or directly into the studio board. Did the guys get to hear the final mix prior to the record being released.

Soulboy

By Dennis Coffey (64.12.105.188 - 64.12.105.188) on Thursday, March 14, 2002 - 01:17 am:

Hi Soulboy. Motown recorded the guitars and bass directly into the board. I brought my amp a few times but not much. There was a large speaker against the wall. We heard ourselves through that speaker and I used one earphone to hear myself in the mix. We never got to hear the final mix until we heard it on the radio.

Dennis Coffey

By John Lester (213.122.204.99 - 213.122.204.99) on Thursday, March 14, 2002 - 10:52 am:

It amazes me the number of times that I hear musicians say....well, the next time I heard that song was when I switched on the radio and they said the song was a huge hit....lol

It reminds me of that story from Andante, Louvaine Demps....she tells of her grandchildren watching a film on TV and Brenda Holloway's "When I'm Gone" comes on.........Louvaine comes into the room screaming......THAT'S ME..HEY THAT'S ME!! You can imagine the looks on the faces of the kids..thinking "Now just who is THIS lady!" HA HA HA HA

If my gran came screaming like that, I would ask my dad to find her medication..and quick!

LOLOLOL

By phillysoulman (64.12.104.26 - 64.12.104.26) on Thursday, March 14, 2002 - 12:16 pm:

I have actually on several ocassions, played on a session and heard it on the radio in the car on the way home!! This was due to the fact that the producer had an acetate done on the premisis and hurried it tothe station to corner the market on a particular "dance craze" record that was the flavour of the week. Giving "gratuity" payments to the radio d.j. was also quite fashionable!!!

By phillysoulman (152.163.197.179 - 152.163.197.179) on Saturday, March 16, 2002 - 02:46 am:

Is there a way that we can get Pistol, Uriel, and the other remaining Funks to come on the forum??
What an honour that would be!!
It would be so great for them to see just how much they are revered and it should be now while they are still with us.
If anyone has any of their phone numbers, please get in touch!!

Eli

By Ritchie (62.254.0.6 - 62.254.0.6) on Saturday, March 16, 2002 - 08:58 am:

Bobby

Let's hope it happens. You know they'll be given a Royal welcome.

By soulboy (213.105.237.177 - 213.105.237.177) on Saturday, March 16, 2002 - 01:53 pm:

Phillysoulman

Great idea!! I know Allan(dr licks)has contributed to this site (standing in the shadows of motown). So i would suspect that rest of the funk brothers will become aware of this site in the near future. As we all know Bob Babbitt and jack ashford make regular contributions, so perhaps we can spread the word through them.
One bit of bad news though, i read in the Detroit news that Richard 'pistol' Allen is undergoing treatment for cancer. this article was dated 13th December 2001. I don't have any more info on this.

http://detnews.com/2001/entertainment/0112/13/c01-365343.htm

By Dennis Coffey (205.188.195.191 - 205.188.195.191) on Monday, March 18, 2002 - 12:50 am:

Hi folks. I've known Pistol for many years. He played on Scorpio. I did a session at Pac 3 last summer with Babbit, Rudy Robinson, Dave Vanderpitt, Eddie Willis, Bobbye Hall and Zoro on drums. Pistol came in the studio and saw someone smoking in the control room. He said, "Here you are smoking and I just came back from Cemo treatment for lung cancer. You don't know what I'd give to have just one day to feel as good as you do right now!" I hope Pistol beats it, he is a hell of a drummer and a great guy.

Dennis Coffey

By soulboy (213.105.237.48 - 213.105.237.48) on Monday, March 18, 2002 - 06:03 pm:

Dennis

Everyone now realises that the 60s were a very special time in popular music, not just soul but in rock.At a time when musical boundaries were being redefined on an almost daily basis, what bands would you say influenced the funk brothers most?? legend has it that they only ever listened to jazz.but i find this puzzling as they must have been aware of the huge changes in popular music at that time.

By Dennis Coffey (136.1.1.154 - 136.1.1.154) on Monday, March 18, 2002 - 08:59 pm:

Hi soulboy. We all played jazz in those days. I played funk jazz with an organ trio. I saw Pistol playing tunes like Cherokee and other jazz standards. The funk brothers were very aware of R&B tunes and styles. Who influenced them, I really can't say. Later on Earl Van Dyke played in a piano jazz trio with Uriel Jones on drums. I think certain elements of jazz and blues cross over. I got to hear and visit with Wes Montgomery a few times. He was both jazzy and funky.

Dennis Coffey

By david, glasgow, scotland (213.107.27.25 - 213.107.27.25) on Monday, March 18, 2002 - 09:34 pm:

hi dennis
which record label issued your 'hair and thangs' album?

i need this for the tera shirma story.
thanks
david

By soulboy (213.105.232.150 - 213.105.232.150) on Monday, March 18, 2002 - 09:52 pm:

Dennis

I don't pretend to be any sort of expert on jazz, but this i do know, whenever jazz is mixed with other contemporary music the result is often very positive,i know that jazz is also a much more complex form of music, but it is the fusion of jazz and R&b that i believe made Motown so unique. Other people have tried hard to emulate this over the years, and none have succeeded.
I agree with what you say about Wes Montgomery,
-an extremely influencial player.


Soulboy

By phillysoulman (205.188.192.58 - 205.188.192.58) on Monday, March 18, 2002 - 10:16 pm:

in Philly, the elements of jazz were very prevelant. Norman Harris always played Wes Montgomery style octaves and we used a lot of chord changes that were conducive to "jazz" such as a lot of major 7ths, eleventh's flat5' sminor 7 flat5's we played so many raised fifth's that sometomes you would want to actually raise a fifth(of gin) We had a lot of "jazz) guys in the horn section, especially alto saxophone player, Zach Zackery who was from the be-bop days.
I think that a lot of our records used more "jazz"
chords that Motown because Gordy wanted to cater to more of a mainsream audience.

By soulboy (213.105.232.82 - 213.105.232.82) on Tuesday, March 19, 2002 - 03:24 pm:

phillysoulman

we digress but:
I must say i noticed that with philly records, the guitars riffs were heavily jazz influenced, the classic example being the intro to 'Backstabbers' by the o'jays. I also remember
reading an article about Nile Rodgers, who said that Wes montgomery was an influence upon his style, and you can hear that on a lot of his early records with Chic.

Soulboy

By Eli (205.188.199.43 - 205.188.199.43) on Tuesday, March 19, 2002 - 03:51 pm:

That was Norman Harris on the octave stuff playing an old Gretsch Switch-o-matic with flat wound strings.I was doing the other stuff as in the slides in the change and the chords.

By Dennis Coffey (136.1.1.154 - 136.1.1.154) on Tuesday, March 19, 2002 - 05:11 pm:

Hi David, Hair and Thangs was released on the Maverick - Venture label through Clarence Avant and distributed by MGM.

Dennis Coffey

By soulboy (213.105.233.39 - 213.105.233.39) on Tuesday, March 19, 2002 - 05:59 pm:

Dennis

How did they achieve that huge drum backbeat on motown records, was that the signature sound of the players or was it through some kind of complicated sound effect.

Soulboy

By Bob Olhsson (68.53.120.100 - 68.53.120.100) on Tuesday, March 19, 2002 - 06:58 pm:

The story I heard was that Brian Holland was never happy with the snare drum sound so he had one of the guitar players double the backbeat without playing anything else so that he could mix it together with the snare. I recall that this was frequently Joe M's Telecaster.

By phillysoulman (205.188.192.181 - 205.188.192.181) on Tuesday, March 19, 2002 - 07:07 pm:

I believe that over head room spill and judicious use of the "live "chamber coupled with the later EMT and Jack's tambourine, had a lot to do with certain songs as well
I only say this from being an avid long time correspondence student of the "University of Motown" I heard that Dancing in the street had tire chains as well!!!!

By Ritchie (62.254.0.6 - 62.254.0.6) on Tuesday, March 19, 2002 - 07:11 pm:

Bobby

Martha's "Nowhere To Run" - snow chains, I believe. (I bet they'd never have thought of that in Miami!)

By Eli (205.188.192.181 - 205.188.192.181) on Tuesday, March 19, 2002 - 07:15 pm:

BLIMEY!!! In Miami they would have used a bleedin' surfboard!!!

By Carl Dixon London (195.153.219.170 - 195.153.219.170) on Tuesday, March 19, 2002 - 07:22 pm:

I 'Wonder' who owns those snow chains now?

By John Lester (213.122.191.230 - 213.122.191.230) on Tuesday, March 19, 2002 - 10:06 pm:

You last three should be on stage as comedians....I have laughed so much tonite from your postings!

By phillysoulman (152.163.197.189 - 152.163.197.189) on Tuesday, March 19, 2002 - 11:15 pm:

Das ist serious bizniz affen zie!!
Ich nicht spielen!!
Das schellplatten affen forum ist zehr gut!!!
Ich viel kauffen das northern soul schalplatten morgen!!!

By Carl van Dixon (195.153.219.170 - 195.153.219.170) on Tuesday, March 19, 2002 - 11:19 pm:

tot de volgende keer!

By Ritchie (62.254.0.6 - 62.254.0.6) on Tuesday, March 19, 2002 - 11:20 pm:

Herr Eli

Now cm'on, bitte - be a MENSCH!

By Baron Ian von Walsch (62.6.71.108 - 62.6.71.108) on Tuesday, March 19, 2002 - 11:45 pm:

Ich weiss nicht was Sie alles sagen.

ps. Mein Hund hat keine Nase. Wie riecht es? Furchtbar!

By Yuden !! (152.163.197.189 - 152.163.197.189) on Tuesday, March 19, 2002 - 11:49 pm:

Your dog has no nose?? I wish I understood what I was saying too!!

By Dennis Coffey (206.47.172.178 - 206.47.172.178) on Wednesday, March 20, 2002 - 02:35 am:

Hi folks. I believe they used echo/reverb and equalizers to get that drum sound but the Motown drummers really slammed a heavy backbeat to give them something to work with. They also added hand claps, footstomps on the floor and guitar backbeats high up on the neck on different records to enhance the backbeat. Joe did them, Eddie did them and I did them at times.

Dennis Coffey

By soulboy (213.105.233.254 - 213.105.233.254) on Thursday, March 21, 2002 - 07:29 pm:

Hi Everyone

I have just visited "standingintheshadowsofmotown.com" They have upgraded the site to include among other things a biography on each one of the Funk Brothers. Needless to say i found the information most interesting,and recommend a visit to this site.
What i was surpised at was that most of Funk Brothers were a good number of years older than the major artists at Motown. This perhaps gives an insight into why the Funk Brothers were and are musicians light years beyond any other.They were all experienced musicians even before Berry Gordy recruited them!
One more point, if you look at the influences they are mostly jazz, but also classical,blues and even country. It was this fusion of many styles i believe that made Motown music not just Popular music but one which cuts across race,age,sex and time itself.

By soulboy (213.105.231.4 - 213.105.231.4) on Friday, March 22, 2002 - 09:10 pm:

Dennis

What do you remember about Wah Wah Watson? I think i am right in saying that he started with Motown after you.

By John Lester (213.122.191.39 - 213.122.191.39) on Friday, March 22, 2002 - 09:56 pm:

I have a UK 45 on Wah Wah Watson

Love Aint Somethin (That You Get For Free)/Bubbles

S CBS 4691..issued 22nd October 1976.

Produced by David Rubinson and Friends and WAh Wah Watson

take from the LP "Elementary" (S 81582)

By Dennis Coffey (205.188.200.27 - 205.188.200.27) on Friday, March 22, 2002 - 11:48 pm:

Hey Soulboy. Wah Wah came after me. The record he played Wah Wah on was Poppa was a Rolling Stone by the Temptations. I was on the road with my band because of the success of Scorpio. I used to do sessions with Wah Wah when we lived in LA. Wah Wah called me about five years ago and thanked me for showing him how to use a wah wha pedal at Motown. He also sent me a brand new Wah Wah pedal, which I still use today.

Dennis Coffey

By soulboy (213.105.229.78 - 213.105.229.78) on Sunday, March 24, 2002 - 09:29 am:

What did the Funk Brothers actually think of the music they created at the time? did they think it was a passing fad in music. Bet even they didn't think we'd still be appreciating the music up to 40 years later.
What tracks did they like the most, and which did they dislike??

By Dennis Coffey (205.188.200.46 - 205.188.200.46) on Sunday, March 24, 2002 - 05:41 pm:

Hi Soulboy. What we created in the studio was how we expressed ourselves. You could feel the intensity of the grooves when we played them. I think everyone enjoyed the music. I know I sure did! We all listened and commented on the playbacks. I don't know if anyone realized the importance of what we were doing at the time. We made music because that is what we loved and wanted to do.

Dennis Coffey

By jack (216.78.131.21 - 216.78.131.21) on Sunday, March 24, 2002 - 05:49 pm:

The funk Brothers were well aware of the impact that was being done by us onthe music scene at the time . Remember the hotter we got on the charts the more outside people would come after us to cut for them. And I might add it also brought the worst out of certain brown nosed flunkys out of the Motown staff to shadow us to make sure that we would not cut for anyone else. hense the offer to some of the funk brothers to be spys so they could stop us. Jack ashford

By phillysoulman (64.12.102.178 - 64.12.102.178) on Sunday, March 24, 2002 - 06:00 pm:

In addition to dennis' comment, when we recorded our stuff in Philly the groove was first and foremost, and we scrutinizd every componant of what made it what it was. Amazingly,with the amount of musicians in the rhythm section, especially early on, we were able to not get in each others' way and the puzzle fit like a glove!!
At the time, Sigma was technologically ahead of the game and they were able to achieve detaied results.
As far as liking whwt we were recording, we were liking the fact that people thought that much of us to have us as a unit on their sessions. Sometimes, however, there were certain producers and writers whose material was not"in the groove",
per se, but we gave it our best shot and as they say "the customer comes first"(no pun intended)

By soulboy (213.105.233.162 - 213.105.233.162) on Sunday, March 24, 2002 - 06:23 pm:

Dennis, It must have been quite an experience firstly just playing the music you enjoy, but secondly just knowing that a great proportion of your work would become international hits. I think maybe if you guys hadn't been so close then that would have been evident in the end product.
That's probably the reason that you don't have any modern day equivalent of motown, the team spirit is just not there.

By soulboy (213.105.233.162 - 213.105.233.162) on Sunday, March 24, 2002 - 06:35 pm:

Jack

If i might say it is an honour to have you on this part of the forum. Where did the idea of using vibes originate from? I can't think of anyone who was using them before Motown or it maybe just my ignorance.
One thing is for certain nobody can argue with the result, HDH used them on quite a few Supremes and Four Tops records.

By soulboy (213.105.233.85 - 213.105.233.85) on Sunday, March 24, 2002 - 06:55 pm:

Phillysoulman

From what you say about the recording process and the amount of musicians at the producers disposal,
(just like in Detroit) the sound Engineers and Mixers role in this must have been absolutely crucial because if you have a large amount of people in the rhythm section, even with the best intent in the world the sound can become somewhat 'unfocused' do you agree with this?

By John Lester (213.1.135.204 - 213.1.135.204) on Monday, March 25, 2002 - 07:39 am:

This post might be a bit controversial but here goes..we have to be honest..

In books that I read, it said that the Funk Brothers had their hearts in jazz and their attitude to the sessions was.........let's get playing this "pop music" (the actual word used was sh*t!) over and done with so that we can play some real music (real - being jazz)

I felt slightly uncomfortable reading that cos I was loving the music that they apparently didn't care for. And I still do love it.........

By soulboy (213.105.232.100 - 213.105.232.100) on Monday, March 25, 2002 - 11:31 am:

John

To be honest if you were a professional jazz musician and you were asked to play a simple 3 chord sequence with what amounts to a swing rhythym i don't think you would be too impressed.
It has been well documented that the Funk brothers were not too impressed by some their producers musical knowledge, especially in the early days. Even bearing this in mind no one can argue with the results.
However as the 60s went on i think the song structures, and rhythms grew too be more of a challenge, and the Funk Brothers changed their attitude .
If you get a chance read 'where did our love go' by Nelson George this should give you some insight into the relationship between some of the producers and Funks.

By jack (216.78.128.101 - 216.78.128.101) on Monday, March 25, 2002 - 01:11 pm:

First I want to say that in order to be the best at what you do ,you noy only have to chalange your compitition but you must do the same to yourself. when you read that one or more of the brothers would say ,lets get finished with this shit, it was not to put that kind of music down, it ment lets get on to the next tune. remember we new we were the best and we had to keep a standard that means we did the best to get a hit and keep the bar high so no one and I mean no one would even try to touch us. With greatness comes arrogance and I'm sorry If that sounds like blowing our horn, but thats the way that it is.People want to know the truth so there it is .Ihope that I didn't break anyones heart. Jack

By Ralph (209.240.222.130 - 209.240.222.130) on Monday, March 25, 2002 - 03:01 pm:

Jack,
I think wat people have to understand is, as Motown " grew up " the music became more sophisticated. Writers like Ashford and Simpson, and arrangers like the great Paul Riser would emerge on the scene. And ONLY the Funk Brothers could handle what was coming and make the music their own.

By jack (216.78.128.101 - 216.78.128.101) on Monday, March 25, 2002 - 08:28 pm:

I could not say it any better than that. with all of the success that was happening around us we new that we were breaking new ground and we had fun. BUT LET ME TELL YOU ,THE SNAKE PIT WAS NOT THE YELLOW BRICK ROAD.SOME TIMES YOU WOULD THINK WE WERE GOING TO KILL EACH OTHER.BUT THATS WHAT HAPPENDS WHEN YOU ARE ARE MAKING HISTORY.The funk brothers were a closed club.Jack Ashford (the funk brothers)

By John Lester (213.1.134.210 - 213.1.134.210) on Monday, March 25, 2002 - 09:13 pm:

Soulboy...I understand perfectly.......

...and I read Nelson's book ages ago......it was my all time favourite book for some years...but I should read it again cos it's that good.

......and Ralph mentions Paul Riser...wow...Paul Riser....what can I say.......err, well, err...what can you say about Paul Riser....are there enough superlatives? ....and the man is STILL knocking me out with his stuff...

By Dennis Coffey (206.47.172.178 - 206.47.172.178) on Tuesday, March 26, 2002 - 02:02 am:

Hi folks. A lot of the sessions we did had jazz chords and funk rhythms. The charts and chords could get pretty complex. In those days we were expected to turn out a hit record every hour. That was the gig. I had a great time on those sessions. We joked, worked hard and played hard. We were a team.

Dennis Coffey

By Eli (170.115.179.119 - 170.115.179.119) on Tuesday, March 26, 2002 - 09:30 pm:

Ditto for myself and the MFSB rhythm section!!

By Eli (170.115.179.119 - 170.115.179.119) on Tuesday, March 26, 2002 - 09:30 pm:

Ditto for myself and the MFSB rhythm section!!

By soulboy (213.105.238.21 - 213.105.238.21) on Wednesday, March 27, 2002 - 08:47 am:

Eli

Getting off the the subject a bit,sorry, but
I have as much admiration for the Philly sound as the Detroit sound. great stuff!!why can't music like this happen again??!!!

soulboy

By jack (216.78.128.38 - 216.78.128.38) on Wednesday, March 27, 2002 - 12:39 pm:

I think that in order for you to get men to record like we did , you must worktogether all of the time insessions and you get to know each others style and you bond and get tight. And of course you listen to each other . That is just a crash course to give you an idea of what we did .jack

By Ralph (209.240.222.130 - 209.240.222.130) on Wednesday, March 27, 2002 - 01:23 pm:

That'a right Jack. And that doesn't happen overnight. Like any good band, it takes time.

By Bob Olhsson (68.53.120.100 - 68.53.120.100) on Wednesday, March 27, 2002 - 08:17 pm:

Jack, I swear that you guys sounded better than ever in the movie!

By John Lester (213.1.134.205 - 213.1.134.205) on Wednesday, March 27, 2002 - 08:25 pm:

You know Bob..I have to say I agree.

I was real excited with that clip....the joy was in their faces and the music and it came across to me as I watched. I was almost in tears watching and hearing it all...I felt part of the team even though none of the guys have a clue about me.

By Ritchie (62.254.0.6 - 62.254.0.6) on Wednesday, March 27, 2002 - 09:12 pm:

Yes - no wonder they look so happy!


(Only kidding!)

By BassLand (64.165.226.145 - 64.165.226.145) on Wednesday, March 27, 2002 - 09:42 pm:

Bob & John, I agree also

Every now and then I go to see the trailer just to see The Funk Brothers play. I have seen the movie twice now (both times here in LA) and I still cant wait for it to come to theaters and better yet to own it myself when the DVD comes out. I have to admit I do not have a stand alone DVD (but I do have one in the computer). I will buy one when this film comes out!

I have heard the music thousands of times but (especially as a musician) to actually see them!

I grew up in the era when music was heard and not seen (unless we're talking about a live show) and as far as Motown and the Funks, they had different musicians on the live shows and it sounded completely different.

I also lived through the era when a record (CD) was nothing without the video, MTV, VH-1 etc. (Heck, a local bar band can't get a gig without a video.) I always felt slighted by my not seeing that for the music I grew up with. That is all better now due to this film.

Bob Lee
http://bassland.net

By soulboy (213.105.238.105 - 213.105.238.105) on Thursday, March 28, 2002 - 08:58 am:

Can anyone answer me this? How important was the actual 'snakepit' to the sound? I know the guys recorded in other studios as well but it seems to average listener that there was some kind of special magic or 'aura' about songs that were cut in 'studio A'.

By david, glasgow, scotland (213.122.31.214 - 213.122.31.214) on Thursday, March 28, 2002 - 12:50 pm:

I NEED TO CLOSE DOWN THIS THREAD WHICH NOW STANDS AT 119 MESSAGES. THIS IS TO ASSIST THOSE WITH 56K MODEMS.

I WILL CARRY FORWARD THE ABOVE POST TO THE NEW THREAD.

*************THREAD CLOSED****************

By jack (67.32.80.110 - 67.32.80.110) on Thursday, March 28, 2002 - 07:04 pm:

I would like to say something about the statement about the guitars and the Motown sound. You had a few guitarist to come through the studio that had a positive impact on the songs that they played on. You had wah wah watson he played his can off and was very effective you had a young man named Paul warren and of course they added Dennis coffey so you see along with our mainstays like Robert Joe and Eddie I think they got as much play as any one else in the Funks.Remember MY GIRL I'M LOSING YOU, all these songs were guitar featured songs so they were just as important and got plenty of pub.

By jack (67.32.80.110 - 67.32.80.110) on Thursday, March 28, 2002 - 07:17 pm:

I hope that by the time my book is finished you all would jhave had time to hear all of the wonderful stories about the fine conditions we worked under. I WILL TELL YOU A STORY THAT YOU FIND HARD TO BELEIVE, KNOW ONE WILL THINK THAT HITS COULD COME FROM THAT KIND OF TREATMENT. BUT WE NEEDED MOTOWN TO HAVE A PLATFORM TO COME TOGETHER AND DO WHAT WE DID. S o my hat is off to Berry but like any other family we had our problems Such as when the funks went on strike in Europe. Boy was that funny. Jack

By Lowell (165.247.229.23 - 165.247.229.23) on Thursday, March 28, 2002 - 08:38 pm:

system test