Long-time readers of this site will know that we here at omgblog HQ have an interest in The Art of Backing Up. A few years ago we interviewed Gloria Jones – singer of the original “Tainted Love,” Motown producer/songwriter and back-up singer for the likes of T-Rex, Joe Cocker and Tina Turner – who told us an anecdote about an unfortunate rainbow wig when asked for advice on how to make it as a back-up singer.
Jones is one of several legendary back-up vocalists featured in director Morgan Neville‘s illuminating new documentary Twenty Feet From Stardom. The film profiles singers Darlene Love, Merry Clayton, Lisa Fischer, Judith Hill, Tata Vega and the late R&B singer Luther Vandross, who famously sang back-up on David Bowie’s “Young Americans.”
Twenty Feet From Stardom just premiered at the Sundance Film Festival and likely won’t hit North American cinemas until late summer. In the meantime, let’s reminisce over revered back-up singer Lisa Fischer‘s powerhouse 1991 solo single “How Can I Ease The Pain”:
Hey Anthony I believe DA is English you fucking twit and clearly has a better grasp on the language than you, you whiny little trollop, you.
Bub, I do often find DA quite funny – when i have the time to translate! But I end up leaving many of his posts unread because of their Duncanese density.
I was very encouraged to find this site. The reason being that this is such an informative post.
merry clayton is a powerhouse. a legend to people like me who read album liner notes throughout the 60s, 70s & 80s. her scorching backups on the rolling stones’ “gimme shelter” are nothing short of epic.
anthony
i love DA’s writing!!! Yes…occasionally you need to make sure you have read it correctly but he is actually quite funny. He has a nice range of posts from silly to serious and interesting. The writing may not be to your taste or what you are used to but the content is good and he seems very unpretentious and kind.
Kevin, can you come back and post more often? It’s refreshing to come to the site and be able to read English again, instead of whatever language it is that the irrepressible DA uses.