This is one of the most amazing documentaries I've seen. It caressed my artistic heart . I haven't been so moved so much by a movie in years. The film delves into the craft of the back-up singer exploring this extraordinary art form through the eyes of those unsung folk that many people like me, who appreciate the talent and musicianship that goes into making iconicmusic, know about. So many other people just hear the song and enjoy it at that level and that's cool. I remember studying album credits so I could begin to associate names with performances. Darlene Love, leader of the ever present '60's group, The Blossoms, is considered to be Grand Diva of the art, according to the film. Phil Spector used her and the group to help define his "wall of sound" signature. But Darlene and the ladies weren't given the credit they deserved. In many cases, the Blossoms "ghosted" for other acts produced by Spector. But this didn't stop them from being in demand to sing on the biggest records made by the biggest stars of the time. The film also profiles the sassy Merry Clayton who became a legend overnight in the Rock World by singing on the Rolling Stones classic, "GIMME SHELTER." She was summoned in the middle of the night and came to the studio very pregnant wearing PJ's, a mink coat, and curlers underneath a Chanel scarf. Mick Jagger told her what he wanted and she proceeded to blow everyone away. Nowadays Lisa Fischer sings that part in concert with the Stones. Fischer is also explored in the film. Even though she won a Grammy for a major record, she seems to feel most comfortable singing behind the star. One remarkable sequence has Fischer singing her own harmonies and appearing beside herself as each part is stacked on. At 54, she's still got those adorable dimples and earthy, comforting sensuality---even without make-up. Sting calls her a "star" and I agree. There's another sequence where she talks about working with Luther Vandross and we see him working with her and others while giving very specific vocal direction. I've heard he was detailed oriented and this proves it. Incredible. Also we meet Claudia Lannear, Patti Austin, The Waters (Julia, Oren, and Maxine), Susaye Greene, Tata Vega and newcomer Judith Hill among others. A vocal music contractor has a bit where he says a modern producer told him they can save money by auto-tuning lead and back-up vocals. The contractor is perplexed and asks what auto-tuning is. The response: We manipulate the vocals so they are in tune. The vocal contractor responds--"Why don't you use people that can actually sing on key to begin with?" My sentiments exactly. The thing many folk failed to realize was the back-up singers is actually what gave so many songs their style and artistic glory. They sang the hooks we all remember. They provided counter melodies and signature improvs to make sure the record stuck to your soul. Auto-tuning doesn't do that.
This is one of the most amazing documentaries I've seen. It caressed my artistic heart . I haven't been so moved so much by a movie in years. The film delves into the craft of the back-up singer exploring this extraordinary art form through the eyes of those unsung folk that many people like me, who appreciate the talent and musicianship that goes into making iconicmusic, know about. So many other people just hear the song and enjoy it at that level and that's cool. I remember studying album credits so I could begin to associate names with performances. Darlene Love, leader of the ever present '60's group, The Blossoms, is considered to be Grand Diva of the art, according to the film. Phil Spector used her and the group to help define his "wall of sound" signature. But Darlene and the ladies weren't given the credit they deserved. In many cases, the Blossoms "ghosted" for other acts produced by Spector. But this didn't stop them from being in demand to sing on the biggest records made by the biggest stars of the time. The film also profiles the sassy Merry Clayton who became a legend overnight in the Rock World by singing on the Rolling Stones classic, "GIMME SHELTER." She was summoned in the middle of the night and came to the studio very pregnant wearing PJ's, a mink coat, and curlers underneath a Chanel scarf. Mick Jagger told her what he wanted and she proceeded to blow everyone away. Nowadays Lisa Fischer sings that part in concert with the Stones. Fischer is also explored in the film. Even though she won a Grammy for a major record, she seems to feel most comfortable singing behind the star. One remarkable sequence has Fischer singing her own harmonies and appearing beside herself as each part is stacked on. At 54, she's still got those adorable dimples and earthy, comforting sensuality---even without make-up. Sting calls her a "star" and I agree. There's another sequence where she talks about working with Luther Vandross and we see him working with her and others while giving very specific vocal direction. I've heard he was detailed oriented and this proves it. Incredible. Also we meet Claudia Lannear, Patti Austin, The Waters (Julia, Oren, and Maxine), Susaye Greene, Tata Vega and newcomer Judith Hill among others. A vocal music contractor has a bit where he says a modern producer told him they can save money by auto-tuning lead and back-up vocals. The contractor is perplexed and asks what auto-tuning is. The response: We manipulate the vocals so they are in tune. The vocal contractor responds--"Why don't you use people that can actually sing on key to begin with?" My sentiments exactly. The thing many folk failed to realize was the back-up singers is actually what gave so many songs their style and artistic glory. They sang the hooks we all remember. They provided counter melodies and signature improvs to make sure the record stuck to your soul. Auto-tuning doesn't do that.
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