The two twits at the center of Craig Zobel's Great World of Sound don't buy into the thievery of the music industry, but they are more than happy to be the tiny sprockets that help the machine rumble. One of them is a white weenie named Martin (Pat Healy) who has never had ambition outside of what his girlfriends do. His partner is Clarence (Kene Holliday), a big huff of a man who walks into a room and sells himself as if he were 50 bucks a pound on the open market. They report to a second-rate confidence man (John Baker) who sends them on the road to sign salt-of-the-earth musicians in the southern states.
The musicians enter a small hotel room and play for Martin and Clarence and then, after being told how they are endangering culture by keeping their talents hidden away, are asked to fork over thirty percent of the recording cost or whatever they can spare really. Clarence has a knack for selling the American dream: the idea of a huge payoff from doing very little. Martin has the sincerity of a true music fan, pouring his heart out when he actually believes in an artist. As a team, they are lethally charming and rarely lose the talent's confidence.
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