Hitsville: The Making of Motown

A trio of female soul singers cross over to the pop charts in the early 1960s, facing their own personal struggles along the way.

Take a musical odyssey through five weird and wonderful decades with brothers Ron & Russell Mael, celebrating the inspiring legacy of Sparks: your favorite band’s favorite band.

Three sisters start out singing in their church choir in Harlem in the late 1950s and become a successful girl group in the 1960s.

In 1959, Berry Gordy Jr. gathered the best musicians from Detroit's thriving jazz and blues scene to begin cutting songs for his new record company. Over a fourteen year period they were the heartbeat on every hit from Motown's Detroit era. By the end of their phenomenal run, this unheralded group of musicians had played on more number ones hits than the Beach Boys, the Rolling Stones, Elvis and the Beatles combined - which makes them the greatest hit machine in the history of popular music. They called themselves the Funk Brothers. Forty-one years after they played their first note on a Motown record and three decades since they were all together, the Funk Brothers reunited back in Detroit to play their music and tell their unforgettable story, with the help of archival footage, still photos, narration, interviews, re-creation scenes, 20 Motown master tracks, and twelve new live performances of Motown classics with the Brothers backing up contemporary performers.

The history of American popular music runs parallel with the history of a Russian Jewish immigrant family, with each male descendant possessing different musical abilities.

The life story of Elvis Presley as seen through the complicated relationship with his enigmatic manager, Colonel Tom Parker.

James Brown was the jewel in the crown, but the throne of Cincinnati’s King Records always belonged to its irascible founder, Syd Nathan. This is the 70th anniversary of the legendary record label and studio. It closed shop nearly 40 years ago, in a now long-neglected warehouse on the neighborhood border of Evanston and Walnut Hills, but its impact still reverberates across today’s music.

An improvised comedy, shot over five days by Shane Meadows, devised with and starring Paddy Considine. Rock roadie and failed musician, Le Donk has lived, loved and learned. Along the way he's lost a girlfriend but he has found a new sidekick in up-and-coming rap prodigy Scor-zay-zee. With Meadows' fly-on-the-wall crew in tow, Donk sets out to make Scor-zay-zee a star...

The record label Death Row Records has, since its creation in 1993, been synonymous with the American hip-hop climate. Formed by ex-bodyguard Suge Knight, the label has released seminal rap albums from luminaries including Dr. Dre, Snoop Doggy Dogg, and the famous hip-hop martyr Tupac Shakur. WELCOME TO DEATH ROW is a fascinating, well-researched documentary which explores the history of this intriguing and incredibly significant company.

Guerilla filmmaker Brendan Toller unleashes I NEED THAT RECORD! THE DEATH (OR POSSIBLE SURVIVAL) OF THE INDEPENDENT RECORD STORE, "an elegy for a vanishing subculture...a lively, bittersweet film that examines - with caustic humor, brutal candor, and, ultimately, great affection - why roughly 3,000 indie record stores have closed across the nation over the past decade," (Johnathan Perry, Boston Globe). A tour-de-force tale of greed, media consolidation, homogenized radio, big box stores, downloading, and technological shifts in the music industry told through candid interviews, crestfallen record store owners, startling statistics, and eye-popping animation. Fat cats or our favorite record stores? You decide. Featuring- IAN MACKAYE, NOAM CHOMSKY, MIKE WATT, THURSTON MOORE, LENNY KAYE (Patti Smith), CHRIS FRANTZ (Talking Heads), GLENN BRANCA, PATTERSON HOOD (Drive By Truckers), PAT CARNEY (Black Keys) , LEGS MCNEIL, BOB GRUEN, BP HELIUM, and many indie record stores across the U.S.

This is the story loosely based on Cleveland disc jockey Alan Freed, who introduced rock'n'roll to teenage American radio audiences in the 1950s. Freed was a source of great controversy: criticized by conservatives for corrupting youth with the "devil's music"; hated by racists for promoting African American music for white consumption; persecuted by law enforcement officials and finally brought down by the "payola" scandals.