Chapter 17: Soul, Motown, and Stax
The driving musical force behind almost every Motown hit between 1959 and 1972 was a group of Detroit-based studio musicians known as The Funk Brothers. This talented collective consisted mostly of jazz performers who found stable and lucrative work supporting Motown’s prolific recording schedule. For many of them, playing at Motown was their day job—at night, they would head to Detroit’s clubs and bars to perform live jazz, blues, and R&B sets. The core members included Benny Benjamin on drums, Earl Van Dyke or Joe Hunter on keyboards, Dave Hamilton on vibraphone or lead guitar, James Jamerson on bass, and Robert White on rhythm guitar. Over time, additional key contributors included drummers Richard “Pistol” Allen and Uriel Jones, guitarists Eddie “Chank” Willis and Joe Messina, percussionists Jack Ashford and Eddie “Bongo” Brown, and saxophonists Mike Terry and Beans Bowles.
Despite their crucial role, The Funk Brothers were largely uncredited during Motown’s heyday. Their musicianship, however, was central to the label’s distinctive sound. Working in a fast-paced, factory-like environment, they were typically paid per finished recording. Although many arrangements were followed as written, the Funk Brothers often infused their own creative touches, improvising or rearranging parts to elevate the songs.
A key innovation at Motown was the use of multi-track recording technology. Motown employed two homemade eight-track tape recorders developed by a young electronics expert named Michael McClain. This represented a major technological leap compared to other companies, which still largely used two- or four-track systems. The eight-track setup allowed producers to record the rhythm section, horns, strings, background vocals, and lead vocals at different times, layering the tracks for a richer and more complex final product.
The musicians embraced new studio technology, which enabled overdubs and more intricate arrangements. Motown’s production aesthetics were also influenced by Phil Spector’s “wall of sound,” and in many Motown mixes, the lead singer was brought to the forefront, while the instruments were blended subtly into the background. To achieve a fuller and punchier rhythm, producers often used two drummers simultaneously. The band also incorporated unusual percussion instruments—such as tire irons and chains—selected in some cases to reflect the lyrical themes of specific songs.
The basic pulse was always prominent in the Funk Brothers’ playing, often augmented with gospel-inspired handclaps, tambourines, and foot stamping. To enhance the groove, a studio carpenter constructed a unique device by bolting together two two-by-fours with a hinge. This tool produced a sharp and crisp backbeat sound on counts two and four of each measure, replicating the handclaps and foot stomps rooted in gospel tradition.
Among The Funk Brothers, bassist James Jamerson stands as one of the most influential figures in popular music history. Before joining Motown’s legendary studio band in the early 1960s, Jamerson sharpened his skills performing in jazz clubs. This background gave him a deep understanding of harmony, melody, and rhythm, which he brought into the recording studio.
Jamerson’s bass playing redefined the role of the bass guitar in soul and pop music. Unlike many bassists who used picks or multiple fingers, Jamerson famously played with just one finger. He played a Fender Precision Bass, an electric bass guitar model known for its solid, warm, and punchy tone, which became a key part of his signature sound. His bass lines were melodically rich, often filled with chromatic passing tones (notes that step outside the main scale, creating tension), syncopations, and improvisatory flourishes that interacted dynamically with the vocal melodies. His playing was so distinctive and intricate that it frequently rivaled the song’s vocal hooks for attention.
Jamerson’s work was heard on countless hits, from The Supremes to Marvin Gaye and The Temptations, and his innovative approach has influenced generations of bassists across genres. Though he received little recognition during his lifetime, today Jamerson is celebrated as a central architect of the “Motown Sound” and a pioneer whose artistry remains vital and influential.