<P> In addition to the songwriting process of the writers and producers, one of the major factors in the widespread appeal of Motown's music was Gordy's practice of using a highly - select and tight - knit group of studio musicians, collectively known as the Funk Brothers, to record the instrumental or "band" tracks of a majority of Motown recordings . Among the studio musicians responsible for the "Motown Sound" were keyboardists Earl Van Dyke, Johnny Griffith, and Joe Hunter; guitarists Joe Messina, Robert White, and Eddie Willis; percussionists Eddie "Bongo" Brown and Jack Ashford; drummers Benny Benjamin, Uriel Jones, and Richard "Pistol" Allen; and bassists James Jamerson and Bob Babbitt . The band's career and work is chronicled in the 2002 documentary film Standing in the Shadows of Motown, which publicised the fact that these musicians "played on more number - one records than The Beatles, Elvis, The Rolling Stones, and The Beach Boys combined ." </P> <P> Much of the Motown Sound came from the use of overdubbed and duplicated instrumentation . Motown songs regularly featured two drummers instead of one (either overdubbed or in unison), as well as three or four guitar lines . Bassist James Jamerson often played his instrument with only the index finger of his right hand, and created many of the basslines apparent on Motown songs such as "Up the Ladder to the Roof" by The Supremes . </P> <P> Artist development was a major part of Motown's operations instituted by Berry Gordy . The acts on the Motown label were fastidiously groomed, dressed and choreographed for live performances . Motown artists were advised that their breakthrough into the white popular music market made them ambassadors for other African - American artists seeking broad market acceptance, and that they should think, act, walk and talk like royalty, so as to alter the less - than - dignified image commonly held of black musicians by white Americans in that era . Given that many of the talented young artists had been raised in housing projects and lacked the necessary social and dress experience, this Motown department was not only necessary, it created an elegant style of presentation long associated with the label . The artist development department specialized primarily in working with younger, less - experienced acts; experienced performers such as Jr . Walker and Marvin Gaye were exempt from artist - development classes . </P> <P> Many of the young artists participated in an annual package tour called the "Motortown Revue", which was popular, first, on the "chitlin' circuit", and, later, around the world . The tours gave the younger artists a chance to hone their performance and social skills and learn from the more experienced artists . </P>

Which of the following was not a successful motown group