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♪
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♪ With so many people
3
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♪ To love in my life
4
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♪ Tell me, why do I worry
about one? ♪
5
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♪ But you-u-u --
6
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♪ Oh...
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-The quest
for the perfect vocal track...
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-One more time.
9
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-♪ We are the champions
10
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♪ my friend
11
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-...where artistry
meets technology...
12
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-♪ I've taken my vows
13
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-What are you doing there?
14
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-I'm just gonna get
a rough balance, okay?
15
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-...and pop music
becomes a collaboration
16
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between man and machine.
17
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-Okay, fellas.
Let's do a take now.
18
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-♪ Ridin' along on a carousel
19
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♪ Trying to catch up to you
20
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-♪ Oh oh oh,
oh-oh-oh-oh-oh ♪
21
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-We think of the voice as the
purest of musical instruments.
22
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♪
23
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-[ Vocalizing ]
24
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-We worship it.
25
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-The winner
of "American Idol" is...
26
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Carrie Underwood!
27
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[Cheers and applause]
-♪ Take it!
28
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♪ Take another little piece
of my heart now, baby ♪
29
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-We fret over how to capture it.
30
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-What are you gonna hear
when you hear that, Sam?
31
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You're gonna hear the vocal.
32
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What you hear
it's what's up front.
33
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And when we play
"Piece of My Heart,"
34
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what's gonna be up front
is gonna be the vocal.
35
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-Hey, listen, but we --
-Okay, let me do both of it --
36
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-And unless the instrumental,
like, really makes a mistake,
37
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it's not gonna sound that wrong.
38
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-Yet we just can't resist
messing with it.
39
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-[ Through a talk box ]
♪ Do you feel like we do?
40
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[ Cheers and applause ]
41
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-With all the changes
in sound recording...
42
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♪
43
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-♪ How can you mend
44
00:01:59,666 --> 00:02:01,933
♪ This broken heart?
45
00:02:02,033 --> 00:02:05,533
-...the voice is the soul
of the song.
46
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-♪ How can you stop the rain
from falling down? ♪
47
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♪ All I'm trying to say is
48
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♪ How can you stop
49
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♪ The sun from shining?
50
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♪ And I want to know
51
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♪ What makes the world
go around? ♪
52
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♪
53
00:02:41,900 --> 00:02:44,066
-Okay, then. Okay.
54
00:02:44,166 --> 00:02:47,366
-It'll be an F for you.
55
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-Here we go.
56
00:02:49,200 --> 00:02:51,666
-Just one more time.
57
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-Right after I say,
"Are you sure?"
58
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Da da da -- yeah.
59
00:02:55,366 --> 00:02:57,000
-Oh.
60
00:02:58,566 --> 00:03:00,833
-Hal, here's how I want
to do it. Takes like this.
61
00:03:00,933 --> 00:03:02,966
-All right, it's fun time.
Fun time.
62
00:03:03,066 --> 00:03:04,400
-Here we go.
63
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-Oh, really?
-17, take one.
64
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-This will be the keeper.
65
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♪
66
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-So, here's where
the various elements begin.
67
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♪
68
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In the studio, speakers are
always situated
69
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across the back of the board,
70
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and there's, like,
a speaker line,
71
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and really gifted people
can jump across that line.
72
00:03:47,900 --> 00:03:50,966
Garth Brooks and Mick Jagger,
73
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Gladys Knight.
74
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Gladys Knight was amazing.
75
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You can be a really good singer,
76
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you can have all this technique,
but you never leap out.
77
00:04:00,133 --> 00:04:04,133
It's a really rare gift.
78
00:04:04,233 --> 00:04:07,333
-♪ Let the sky fall
79
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♪ When it crumbles
80
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♪ We will stand tall
81
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-It's a certain aspect
that cuts through everything
82
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and makes you want to listen.
83
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I think, if there's a recipe,
it's human emotions.
84
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Melody and human emotion
85
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are the things that reach out
to the human psyche.
86
00:04:26,766 --> 00:04:32,733
-♪ Face it all together
at skyfall ♪
87
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-Adele is --
she sounds like one of these
88
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kinds of
once-in-a-generation singers.
89
00:04:38,866 --> 00:04:41,000
In previous generations,
it might have been someone
90
00:04:41,100 --> 00:04:43,633
like an Aretha Franklin,
or like an Ella Fitzgerald.
91
00:04:43,733 --> 00:04:46,466
What people identify and
resonate with in Adele's voice
92
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is her ability to project
emotion on this grand scale.
93
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She just taps into that
emotional heart of yourself
94
00:04:52,466 --> 00:04:55,033
and rips it out
or replaces it with something
95
00:04:55,133 --> 00:04:57,000
that she brings in
in the quality of her songs.
96
00:04:57,100 --> 00:05:01,833
-♪ There's a fire
starting in my heart ♪
97
00:05:01,933 --> 00:05:04,766
-With vocalists, someone has to
strike a balance between
98
00:05:04,866 --> 00:05:09,500
technical excellence
and complete emotional freedom,
99
00:05:09,600 --> 00:05:11,700
and I think the two are at odds
with each other in terms of
100
00:05:11,800 --> 00:05:15,433
possibly the neurology
and physiology of singing.
101
00:05:15,533 --> 00:05:19,966
-♪ See how I'll leave
with every piece of you ♪
102
00:05:20,066 --> 00:05:24,466
♪ Don't underestimate
the things that I will do ♪
103
00:05:24,566 --> 00:05:27,600
-But there's that beautiful
point when someone hits it,
104
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you know, your,
your hair stands on end.
105
00:05:29,400 --> 00:05:31,466
It connects with you
in a very deep way.
106
00:05:31,566 --> 00:05:33,600
-♪ Bringing me out the dark
107
00:05:33,700 --> 00:05:38,366
♪ Finally,
I can see you crystal clear ♪
108
00:05:38,466 --> 00:05:42,966
♪ Go ahead and sell me out,
and I'll lay your ship bare ♪
109
00:05:43,066 --> 00:05:47,400
♪ See how I'll leave
with every piece of you ♪
110
00:05:47,500 --> 00:05:52,166
♪ Don't underestimate
the things that I will do ♪
111
00:05:52,266 --> 00:05:54,300
Cool. That's four
of them, yeah?
112
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-[ Laughs ]
113
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This is a session that
hasn't been opened since,
114
00:05:59,166 --> 00:06:01,800
until today, since we did it.
115
00:06:01,900 --> 00:06:05,933
-♪ Baby, I have
no story to be told ♪
116
00:06:06,033 --> 00:06:08,200
♪ But I've heard one on you
117
00:06:08,300 --> 00:06:10,333
♪ And I'm gonna make
your head burn ♪
118
00:06:10,433 --> 00:06:11,533
-"Rolling in the Deep,"
obviously,
119
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was an incredibly personal
piece of music
120
00:06:14,433 --> 00:06:17,933
that was driven completely
by the end of a relationship
121
00:06:18,033 --> 00:06:19,800
and her anger at the situation.
122
00:06:19,900 --> 00:06:23,900
-♪ There's a fire starting
in my heart ♪
123
00:06:24,000 --> 00:06:25,133
-Had this little studio
124
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that was basically like
a little garden shed.
125
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It's kinda cold.
126
00:06:28,533 --> 00:06:30,433
Because it opened right into
this little courtyard,
127
00:06:30,533 --> 00:06:32,133
there was, like,
leaves blowing in,
128
00:06:32,233 --> 00:06:34,233
and there was this weird
little step in the studio.
129
00:06:34,333 --> 00:06:36,533
This floor was concrete.
And, it was, like...
130
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You can't really stamp on this.
131
00:06:38,266 --> 00:06:40,033
It's like
it doesn't do anything.
132
00:06:40,133 --> 00:06:42,033
And, there's this, I saw
the spot with the wooden step,
133
00:06:42,133 --> 00:06:44,166
and I was, like, "Why don't you
go and stomp on that."
134
00:06:44,266 --> 00:06:47,000
So, I put this, put the,
you know, the mic down
135
00:06:47,100 --> 00:06:50,866
and she did a whole track
of stamping on this wooden step,
136
00:06:50,966 --> 00:06:53,000
and then we sort
of multi-tracked it
137
00:06:53,100 --> 00:06:54,933
so, it was about eight of her.
138
00:06:55,033 --> 00:06:56,900
You can actually hear
her breaths in it.
139
00:06:57,000 --> 00:06:59,833
-[ Chuckles, claps ]
140
00:06:59,933 --> 00:07:03,833
♪ Throw your soul through
every open door ♪
141
00:07:03,933 --> 00:07:06,033
-I don't think any of us can
predict when there's gonna be
142
00:07:06,133 --> 00:07:10,866
someone that comes out with
the kind of power and ability
143
00:07:10,966 --> 00:07:12,766
to reach people
of all generations,
144
00:07:12,866 --> 00:07:15,933
across all genres of music,
as Adele, you know,
145
00:07:16,033 --> 00:07:19,433
be able to wrap around a melody
and really express yourself
146
00:07:19,533 --> 00:07:21,733
a-and modulate the way
that you're singing.
147
00:07:21,833 --> 00:07:23,000
-♪ We could have had it all
148
00:07:23,100 --> 00:07:26,033
-♪ Tears are gonna fall,
rolling in the deep ♪
149
00:07:26,133 --> 00:07:27,300
-♪ We could have had it all
150
00:07:27,400 --> 00:07:31,000
♪ You're gonna wish you
never had met me ♪
151
00:07:31,100 --> 00:07:33,033
-You know, recording's
a really personal matter,
152
00:07:33,133 --> 00:07:35,266
and you dig deep,
and you wanna be naked.
153
00:07:35,366 --> 00:07:36,766
[ Guitar playing ]
154
00:07:36,866 --> 00:07:38,266
You need to just really
be present
155
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and get into the emotion of it.
156
00:07:40,233 --> 00:07:45,900
♪ I was in a daze, movin' in
the wrong direction ♪
157
00:07:46,000 --> 00:07:51,166
♪ Feelin' that I'd always be
the lonely one ♪
158
00:07:54,566 --> 00:07:56,466
You know, when I fell in love
with the blues,
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I went back and got
as many records as I could
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of the history that showed
where this music came from.
161
00:08:01,533 --> 00:08:03,766
It turned out the biggest
stars of the day
162
00:08:03,866 --> 00:08:06,866
were the women blues singers,
the classic blues singers.
163
00:08:06,966 --> 00:08:08,600
And, when I heard Bessie Smith,
164
00:08:08,700 --> 00:08:10,233
like most people the first time
they hear her,
165
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you just -- you don't know
what to say.
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You've just never heard a voice
with that kind of power.
167
00:08:14,033 --> 00:08:17,700
-♪ Looka here, Daddy
168
00:08:17,800 --> 00:08:20,866
♪ I want to tell you
169
00:08:20,966 --> 00:08:22,933
♪ Please get out of my sight
170
00:08:23,033 --> 00:08:25,666
-She was the beginning
of the influence
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00:08:25,766 --> 00:08:27,766
for all those people
that came after her,
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00:08:27,866 --> 00:08:30,166
whether it was Dinah Washington
or Ruth Brown,
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00:08:30,266 --> 00:08:33,566
Aretha Franklin, who was my hero
when I was growing up.
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You go -- it all goes back
to those original,
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classic blues singers
and shouters
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who had the most incredible
ability to reach so many people
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00:08:43,133 --> 00:08:45,833
and move them and were
the big stars of the day.
178
00:08:45,933 --> 00:08:47,800
They were the Beyoncés
of their day.
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00:08:47,900 --> 00:08:52,700
-♪ Don't sit around and frown
180
00:08:52,800 --> 00:08:56,933
♪ You've been a good ol' wagon
181
00:08:57,033 --> 00:08:58,400
♪ Daddy, but you done
broke down ♪
182
00:08:58,500 --> 00:09:02,533
-"You've been a good ol' wagon,
honey, but you done broke down."
183
00:09:02,633 --> 00:09:06,033
There's something about
Bessie Smith's connection
184
00:09:06,133 --> 00:09:12,766
with all of our humanity that
leaps out of the speaker at you.
185
00:09:12,866 --> 00:09:17,033
-♪ And get yourself overhauled
186
00:09:17,133 --> 00:09:19,333
-It just wasn't like
anybody else.
187
00:09:19,433 --> 00:09:24,300
It wasn't fancy, or colorful,
or tricky.
188
00:09:24,400 --> 00:09:25,733
Nothing but pure emotion.
189
00:09:25,833 --> 00:09:32,333
-♪ to make a good woman fall
190
00:09:32,433 --> 00:09:34,900
-You know,
the power of her voice,
191
00:09:35,000 --> 00:09:38,066
she is sort of like
the blues Caruso.
192
00:09:38,166 --> 00:09:39,566
There's nobody else like that.
193
00:09:39,666 --> 00:09:42,600
-♪ When a real man
can be found ♪
194
00:09:42,700 --> 00:09:45,266
-Today, when listening
to those old recordings,
195
00:09:45,366 --> 00:09:48,266
it's difficult for everybody
to hear the greatness
196
00:09:48,366 --> 00:09:54,266
that was inherent, to say,
"My God, this was special."
197
00:09:54,366 --> 00:09:58,833
-1925, Columbia was one of the
first companies to switch to
198
00:09:58,933 --> 00:10:00,433
electrical recording.
199
00:10:00,533 --> 00:10:06,566
And Bessie Smith was among the
first to record electrically.
200
00:10:06,666 --> 00:10:08,633
Before that,
it was acoustic recording,
201
00:10:08,733 --> 00:10:10,166
and they used the horn.
202
00:10:10,266 --> 00:10:12,533
-Before the microphone,
203
00:10:12,633 --> 00:10:15,533
the equivalent of a loudspeaker
amplifies the voice.
204
00:10:15,633 --> 00:10:18,433
-You yelled, screamed, sang,
205
00:10:18,533 --> 00:10:20,766
or played an instrument
into a horn.
206
00:10:20,866 --> 00:10:24,633
-So, you can feign intimacy
doing that,
207
00:10:24,733 --> 00:10:27,333
but to really feel like
you're up there, you know,
208
00:10:27,433 --> 00:10:31,000
caressing the listener's ear,
or almost whispering,
209
00:10:31,100 --> 00:10:32,566
you couldn't do that.
210
00:10:32,666 --> 00:10:37,233
-♪ I may seem proud,
and I may act gay ♪
211
00:10:37,333 --> 00:10:41,966
♪ That's just a pose,
I'm not that way ♪
212
00:10:42,066 --> 00:10:43,366
-The microphone changes
everything
213
00:10:43,466 --> 00:10:46,533
because first of all,
it allows nuance.
214
00:10:46,633 --> 00:10:47,766
It allows subtlety.
215
00:10:47,866 --> 00:10:51,500
-♪ I surrender, dear
216
00:10:51,600 --> 00:10:55,766
♪ Those little mean things
we were doing ♪
217
00:10:55,866 --> 00:10:58,033
♪ Must have been part
of the game ♪
218
00:10:58,133 --> 00:11:01,100
-Bing Crosby used this
to enormous effect
219
00:11:01,200 --> 00:11:04,466
and became
the first multimillion seller
220
00:11:04,566 --> 00:11:07,066
through the microphone.
221
00:11:07,166 --> 00:11:09,766
The crooner was born.
222
00:11:09,866 --> 00:11:11,100
-Bing!
223
00:11:11,200 --> 00:11:13,433
-Bing!
224
00:11:13,533 --> 00:11:14,933
-Bing!
225
00:11:15,033 --> 00:11:16,666
-It was clear that
what they were listening to
226
00:11:16,766 --> 00:11:19,566
wasn't just a voice,
the voice of a singer.
227
00:11:19,666 --> 00:11:22,900
They were hearing
this incredible invention,
228
00:11:23,000 --> 00:11:24,533
this medium of recorded sound.
229
00:11:24,633 --> 00:11:26,700
They weren't just getting
sexed up by the singer.
230
00:11:26,800 --> 00:11:29,900
They were getting sexed up
by the microphone.
231
00:11:30,000 --> 00:11:32,700
-It's Bing Crosby.
It's Frank Sinatra.
232
00:11:32,800 --> 00:11:36,666
And they're right there.
233
00:11:36,766 --> 00:11:38,733
And because they're now
right there,
234
00:11:38,833 --> 00:11:44,233
we start to ask new things
of them emotionally.
235
00:11:44,333 --> 00:11:51,533
-♪ I don't know why
I love you like I do ♪
236
00:11:51,633 --> 00:11:53,200
[ Women cheering ]
237
00:11:53,300 --> 00:11:58,266
♪ I don't know why, but I do
238
00:11:58,366 --> 00:12:00,933
-Sinatra
really was groundbreaking
239
00:12:01,033 --> 00:12:04,000
in his use of the microphone.
240
00:12:04,100 --> 00:12:06,866
He didn't just stand in front
of the microphone and sing.
241
00:12:06,966 --> 00:12:11,566
You can see him move in
when he's emphasizing
242
00:12:11,666 --> 00:12:13,066
a certain emotion.
243
00:12:13,166 --> 00:12:16,833
-♪ I'm a fool
244
00:12:16,933 --> 00:12:22,400
♪ To want you
245
00:12:22,500 --> 00:12:26,000
♪ Pity me, I need you
246
00:12:26,100 --> 00:12:27,866
-And then, when he starts
to come back
247
00:12:27,966 --> 00:12:33,000
and really hit a note
full force, he backs off.
248
00:12:33,100 --> 00:12:36,333
-♪ It must be wrong
249
00:12:36,433 --> 00:12:43,066
♪ But right or wrong,
I can't get along ♪
250
00:12:43,166 --> 00:12:45,500
♪ Without you
251
00:12:45,600 --> 00:12:47,333
-All I can say
is that Frank Sinatra
252
00:12:47,433 --> 00:12:49,100
played the microphone better
253
00:12:49,200 --> 00:12:51,500
than any other artist
that ever sang.
254
00:12:51,600 --> 00:12:54,833
-♪ Time and time again
255
00:12:54,933 --> 00:12:58,766
♪ I said
256
00:12:58,866 --> 00:13:03,933
♪ I'd leave you
257
00:13:04,033 --> 00:13:10,133
-Crosby was the first pop singer
to make you hear and understand
258
00:13:10,233 --> 00:13:12,600
and contemplate the meaning
of a lyric.
259
00:13:12,700 --> 00:13:14,733
Sinatra went deeper.
260
00:13:14,833 --> 00:13:18,733
Sinatra could wring blood
out of a lyric.
261
00:13:18,833 --> 00:13:25,233
-♪ But then
would come the time ♪
262
00:13:25,333 --> 00:13:28,733
♪ When I would need you
263
00:13:28,833 --> 00:13:30,400
-He could, like, cut a vein.
264
00:13:30,500 --> 00:13:34,566
He made the songs much more
autobiographical.
265
00:13:34,666 --> 00:13:37,133
When he sang something like
"I'm a Fool to Love You,"
266
00:13:37,233 --> 00:13:38,966
I mean, it's like
his heart was breaking
267
00:13:39,066 --> 00:13:40,566
right there in the studio.
268
00:13:40,666 --> 00:13:46,966
♪ I'd have to say
269
00:13:47,066 --> 00:13:52,066
♪ Take me back
270
00:13:52,166 --> 00:13:56,666
♪ I love you
271
00:13:56,766 --> 00:14:00,900
-Microphones
are like magical things.
272
00:14:01,000 --> 00:14:03,533
-♪ I need you
273
00:14:03,633 --> 00:14:07,066
-The microphone is the beginning
of the process
274
00:14:07,166 --> 00:14:11,700
of turning musical actions
into texts, into artworks.
275
00:14:11,800 --> 00:14:14,000
It's the doorway, right?
276
00:14:14,100 --> 00:14:19,500
It takes the physical soundwaves
of the acoustic event,
277
00:14:19,600 --> 00:14:22,100
and it transfers them into
a whole other medium.
278
00:14:22,200 --> 00:14:24,633
It makes them into electricity.
279
00:14:24,733 --> 00:14:26,633
Things that used to just
be fleeting and gone,
280
00:14:26,733 --> 00:14:29,966
they would still be fleeting and
gone, but for the microphone.
281
00:14:30,066 --> 00:14:34,066
-♪ Well, sometimes,
I go out by myself ♪
282
00:14:34,166 --> 00:14:39,766
♪ And I look across the water
283
00:14:39,866 --> 00:14:43,400
♪ And I think of all the things,
what you're doing ♪
284
00:14:43,500 --> 00:14:47,900
♪ And in my head
I paint a picture ♪
285
00:14:48,000 --> 00:14:50,300
-Every once in a while,
an artist comes along
286
00:14:50,400 --> 00:14:54,700
and is beyond definition
or description.
287
00:14:54,800 --> 00:14:59,666
-♪ And I miss your ginger hair
and the way you like to dress ♪
288
00:14:59,766 --> 00:15:01,966
♪ Won't you come on over?
289
00:15:02,066 --> 00:15:06,366
♪ Stop makin' a fool out of me
290
00:15:06,466 --> 00:15:11,066
♪ Why don't you come on over,
Valerie? Yeah ♪
291
00:15:11,166 --> 00:15:13,900
-Amy Winehouse had
a unique thing.
292
00:15:14,000 --> 00:15:16,100
I mean, it wasn't,
it wasn't black soul,
293
00:15:16,200 --> 00:15:18,866
it wasn't white soul,
it wasn't British soul,
294
00:15:18,966 --> 00:15:21,266
even though it was
all of those things.
295
00:15:21,366 --> 00:15:25,000
The gal could sing her ass off
and meant every word of it,
296
00:15:25,100 --> 00:15:26,233
hauntingly.
297
00:15:26,333 --> 00:15:28,966
-♪ I hope you didn't
catch a tan ♪
298
00:15:29,066 --> 00:15:33,200
♪ I hope you find the right man
who'll fix it for you ♪
299
00:15:33,300 --> 00:15:35,100
-When I was working on
300
00:15:35,200 --> 00:15:36,800
"Amy Winehouse:
Back to Black"...
301
00:15:36,900 --> 00:15:40,400
-♪ Well, sometimes I go out,
and again ♪
302
00:15:40,500 --> 00:15:42,833
-Tommy, do you want to end
the verses just with
303
00:15:42,933 --> 00:15:44,866
those things that you're
playing, play it quite muted,
304
00:15:44,966 --> 00:15:48,800
the chucka-chucka-chu,
and then you play the notes.
305
00:15:48,900 --> 00:15:51,933
I was kind of a bit of a novice
as a producer, you know?
306
00:15:52,033 --> 00:15:53,600
I had made, up to that point,
rap music.
307
00:15:53,700 --> 00:15:55,066
-But we don't have you.
-Can you hear me at all?
308
00:15:55,166 --> 00:15:56,833
I can't hear myself at all,
darling.
309
00:15:56,933 --> 00:16:00,733
I can hear myself a little bit
now. It's hard.
310
00:16:00,833 --> 00:16:03,133
I was sounding like Rod Stewart.
I'm here, like, going, "Ooh!"
311
00:16:03,233 --> 00:16:05,100
Like Rod Stewart.
Do you know what I mean?
312
00:16:05,200 --> 00:16:06,966
♪
313
00:16:07,066 --> 00:16:09,166
♪ Are you shopping anywhere?
314
00:16:09,266 --> 00:16:11,866
♪ Changed the color
of your hair? ♪
315
00:16:11,966 --> 00:16:14,666
♪ Are you busy?
316
00:16:14,766 --> 00:16:16,600
-The voice was just ridiculous.
317
00:16:16,700 --> 00:16:19,933
Suddenly, like,
having this immense voice
318
00:16:20,033 --> 00:16:23,300
that could just unload
incredible power on a dime.
319
00:16:23,400 --> 00:16:27,033
♪ And I think what --
mnh, mnh -- da-da-dah ♪
320
00:16:27,133 --> 00:16:32,000
♪ And in my head
I paint a picture ♪
321
00:16:32,100 --> 00:16:34,766
-The thing that really made that
record work was his idea
322
00:16:34,866 --> 00:16:36,566
of kind of putting
these elements together.
323
00:16:36,666 --> 00:16:37,866
-I messed up a few times,
'cause you told me
324
00:16:37,966 --> 00:16:39,533
I was gonna have to re-vocal it,
so, I wasn't...
325
00:16:39,633 --> 00:16:40,766
-Yeah. I know.
326
00:16:40,866 --> 00:16:43,700
Her songwriting with the sound
of the Dap-Kings,
327
00:16:43,800 --> 00:16:46,733
and then you kinda put it
into this pop mixing,
328
00:16:46,833 --> 00:16:49,166
compressed sound, radio sound.
329
00:16:49,266 --> 00:16:50,333
You know, that's where
you're gonna get
330
00:16:50,433 --> 00:16:52,400
that Amy Winehouse sound,
you know.
331
00:16:52,500 --> 00:16:54,766
♪
332
00:16:54,866 --> 00:16:57,900
-♪ They tried to make me go
to rehab ♪
333
00:16:58,000 --> 00:17:01,266
♪ I said, "No, no, no"
334
00:17:01,366 --> 00:17:03,666
-Amy and I were carried away
with kind of, like,
335
00:17:03,766 --> 00:17:05,733
this music that we loved
and these influences.
336
00:17:05,833 --> 00:17:08,366
You think of the beginning
of "Rehab," the...
337
00:17:08,466 --> 00:17:11,066
-♪ I ain't got the time
338
00:17:11,166 --> 00:17:15,033
♪ And if my daddy thinks
I'm fine ♪
339
00:17:15,133 --> 00:17:17,633
♪ He's tried to make me go
to rehab ♪
340
00:17:17,733 --> 00:17:20,666
♪ I won't go, go, go
341
00:17:20,766 --> 00:17:22,266
-We'd been walking down
the street
342
00:17:22,366 --> 00:17:25,800
and she was telling me a story
about her family, and she said,
343
00:17:25,900 --> 00:17:27,800
"They tried to make me go
to rehab."
344
00:17:27,900 --> 00:17:29,633
And, she was like,
"Pfft! No! No! No!"
345
00:17:29,733 --> 00:17:31,166
And, I was, like,
"I hate to, like,
346
00:17:31,266 --> 00:17:34,266
turn your tragedy into a song,
Amy, but that's pretty catchy.
347
00:17:34,366 --> 00:17:35,966
Like, we should go back to
the studio
348
00:17:36,066 --> 00:17:37,233
and maybe write a song
about it."
349
00:17:37,333 --> 00:17:41,533
-♪ There's nothing
you can teach me ♪
350
00:17:41,633 --> 00:17:43,233
-The voice is
an interesting thing.
351
00:17:43,333 --> 00:17:45,233
It's so personal.
You're your own instrument.
352
00:17:45,333 --> 00:17:47,700
And it is vulnerable,
because people can judge you,
353
00:17:47,800 --> 00:17:50,066
and they can love you,
and they can hate you,
354
00:17:50,166 --> 00:17:52,200
and they can be
indifferent to you,
355
00:17:52,300 --> 00:17:55,800
but if you are
an authentic singer,
356
00:17:55,900 --> 00:17:59,466
really, a truly authentic
singer, you resonate.
357
00:17:59,566 --> 00:18:01,300
-♪ A shot glass
358
00:18:01,400 --> 00:18:03,766
♪ They tried to make me go
to rehab ♪
359
00:18:03,866 --> 00:18:06,633
♪ I said, "No, no, no"
360
00:18:06,733 --> 00:18:09,766
-It's hard to describe someone
that is that unique.
361
00:18:09,866 --> 00:18:12,766
-♪ When I come back,
you'll know, know, know ♪
362
00:18:12,866 --> 00:18:15,200
-You can't put her in a box.
363
00:18:15,300 --> 00:18:17,566
And how great is that?
364
00:18:17,666 --> 00:18:20,000
To have someone come along
and go, "You know what?
365
00:18:20,100 --> 00:18:23,033
You're your own --
you're your own mountain."
366
00:18:23,133 --> 00:18:26,200
♪ Cold wind ripping
down the alley at dawn ♪
367
00:18:26,300 --> 00:18:30,033
♪ And the morning paper flies
368
00:18:30,133 --> 00:18:32,900
♪ Dead man lying by the side
of the road ♪
369
00:18:33,000 --> 00:18:36,100
♪ With the daylight
in his eyes ♪
370
00:18:36,200 --> 00:18:38,466
♪ Don't let it bring you down
371
00:18:38,566 --> 00:18:42,266
♪ It's only castles burning
372
00:18:42,366 --> 00:18:45,466
♪ Find someone who's turning
373
00:18:45,566 --> 00:18:52,566
♪ And you will come around
374
00:18:52,666 --> 00:18:55,100
-It's an odd thing,
but a lot of people can sing,
375
00:18:55,200 --> 00:18:57,800
and then some people have just
a sound to their voice.
376
00:19:01,933 --> 00:19:04,766
♪ Blind man running through
the light of the night ♪
377
00:19:04,866 --> 00:19:08,633
♪ With an answer in his hand
378
00:19:08,733 --> 00:19:11,233
♪ Come on down to the river
of sight ♪
379
00:19:11,333 --> 00:19:15,000
♪ And you can really
understand ♪
380
00:19:15,100 --> 00:19:17,400
-They can sing as well,
but, like, Neil Young
381
00:19:17,500 --> 00:19:20,366
is a great singer, but he's not
just a great singer.
382
00:19:20,466 --> 00:19:22,900
There's some character
in his voice
383
00:19:23,000 --> 00:19:25,966
that is quintessentially
Neil Young.
384
00:19:26,066 --> 00:19:27,200
It couldn't be anybody else.
385
00:19:27,300 --> 00:19:29,366
Tom Petty, it couldn't be
anybody else.
386
00:19:29,466 --> 00:19:31,433
Bob Dylan, it couldn't
be anybody else.
387
00:19:31,533 --> 00:19:34,533
Etta James,
couldn't be anybody else.
388
00:19:34,633 --> 00:19:36,533
And then there's other people
who can sing.
389
00:19:36,633 --> 00:19:39,466
-♪ I shot the morning
in the back ♪
390
00:19:39,566 --> 00:19:42,200
♪ with my red wings on
391
00:19:42,300 --> 00:19:47,833
♪ Told the sun he better go
back down ♪
392
00:19:47,933 --> 00:19:51,233
♪ If I can find a book
of matches ♪
393
00:19:51,333 --> 00:19:54,933
♪ I'm goin' to burn
this hotel down ♪
394
00:19:55,033 --> 00:19:59,500
-So, it's not just being good.
It's being extremely --
395
00:19:59,600 --> 00:20:01,566
you know, it's being unique.
396
00:20:01,666 --> 00:20:03,566
-♪ Brave captain
397
00:20:03,666 --> 00:20:07,333
-So, there might be other
singers who have greater range,
398
00:20:07,433 --> 00:20:11,566
or more skill, or whatever,
but to me,
399
00:20:11,666 --> 00:20:16,600
a distinctiveness and sounding
like no one but yourself.
400
00:20:16,700 --> 00:20:19,700
♪ Devil leaves
his porch light on ♪
401
00:20:19,800 --> 00:20:23,300
[ Sax solo ]
402
00:20:23,400 --> 00:20:24,933
-It all has to do with
the whole package,
403
00:20:25,033 --> 00:20:26,833
and the heart,
and the communication,
404
00:20:26,933 --> 00:20:30,866
and the desire, and the
calling, the anointing.
405
00:20:30,966 --> 00:20:32,966
I think the main thing
that makes a great singer
406
00:20:33,066 --> 00:20:34,600
is the anointing on that singer,
407
00:20:34,700 --> 00:20:38,133
that that singer is called to do
exactly what they're doing.
408
00:20:38,233 --> 00:20:40,800
-Track 13, "Lady Soul."
409
00:20:40,900 --> 00:20:42,000
-One, two.
410
00:20:42,100 --> 00:20:47,266
♪
411
00:20:47,366 --> 00:20:50,166
-♪ Oh, come back, baby
412
00:20:50,266 --> 00:20:53,333
♪ Baby, please don't go
413
00:20:53,433 --> 00:20:56,300
♪ Because the way I love you
414
00:20:56,400 --> 00:20:59,133
♪ You'll never know
415
00:20:59,233 --> 00:21:02,433
♪ Come back, baby
416
00:21:02,533 --> 00:21:05,466
♪ Let's talk it over
417
00:21:05,566 --> 00:21:08,400
♪ One more time
418
00:21:08,500 --> 00:21:12,300
♪ Oh, yeah
419
00:21:12,400 --> 00:21:16,066
-When Aretha was on Atlantic,
I used to go to the sessions.
420
00:21:16,166 --> 00:21:18,566
I used to kinda stick my head
in there to hear this artist,
421
00:21:18,666 --> 00:21:20,166
you know, that was phenomenal.
422
00:21:20,266 --> 00:21:21,866
-♪ R-E-S-P-E-C-T
423
00:21:21,966 --> 00:21:23,400
♪ Find out what it means to me
424
00:21:23,500 --> 00:21:25,600
♪ R-E-S-P-E-C-T
425
00:21:25,700 --> 00:21:27,166
♪ Take care, TCB, oh
426
00:21:27,266 --> 00:21:30,300
-♪ Sock it to me, sock it to me,
sock it to me, sock it to me ♪
427
00:21:30,400 --> 00:21:34,100
♪ Yes, I need a little respect
-♪ Just a little bit
428
00:21:34,200 --> 00:21:36,700
-And she'd get better
and better.
429
00:21:36,800 --> 00:21:39,100
Every time she sang the song,
you know, like,
430
00:21:39,200 --> 00:21:40,933
Jerry Wexler and those people
would say, "I think we have it."
431
00:21:41,033 --> 00:21:43,900
And, she'd say,
"No. No. No. No. No.
432
00:21:44,000 --> 00:21:45,366
Let me try that again."
433
00:21:45,466 --> 00:21:47,533
And, you know, a lot of artists
think they can do it better.
434
00:21:47,633 --> 00:21:49,366
Shecould do it better.
435
00:21:49,466 --> 00:21:50,800
-♪ Ooh!
-♪ Just a little bit
436
00:21:50,900 --> 00:21:52,400
-♪ A little respect
-♪ Just a little bit
437
00:21:52,500 --> 00:21:55,033
-With singers, I tell them,
438
00:21:55,133 --> 00:21:57,333
"This isn't necessarily
439
00:21:57,433 --> 00:21:59,500
something you can learn.
440
00:21:59,600 --> 00:22:04,333
You can learn to do it,
maybe you can develop a style,
441
00:22:04,433 --> 00:22:08,066
but will you be considered
a great singer?
442
00:22:08,166 --> 00:22:09,333
I don't know.
443
00:22:09,433 --> 00:22:10,566
♪
444
00:22:10,666 --> 00:22:12,066
-♪ Georgia
445
00:22:12,166 --> 00:22:15,033
[ Applause ]
446
00:22:15,133 --> 00:22:20,733
♪ Oh, Georgia
447
00:22:20,833 --> 00:22:25,666
♪ And the whole day through
448
00:22:25,766 --> 00:22:29,066
♪ Yes, it's just this old,
sweet song ♪
449
00:22:29,166 --> 00:22:31,333
-The absolute seminal moment
in my life
450
00:22:31,433 --> 00:22:34,400
when I was sitting up
eating sausages and potatoes
451
00:22:34,500 --> 00:22:38,433
at 2:00 in the morning
and heard "Georgia On My Mind"
452
00:22:38,533 --> 00:22:42,433
for the first time,
the Ray Charles recording.
453
00:22:42,533 --> 00:22:48,600
-♪ I said Georgia, no, no
454
00:22:48,700 --> 00:22:51,066
♪ Oh, Georgia
455
00:22:51,166 --> 00:22:55,200
-I absolutely remember being
blown completely away by it
456
00:22:55,300 --> 00:22:57,200
and thinking I'd never heard
anything quite so moving
457
00:22:57,300 --> 00:22:58,800
and beautiful in my life.
458
00:22:58,900 --> 00:23:05,266
-♪ Comes as sweet and clear
459
00:23:05,366 --> 00:23:12,033
♪ As moonlight
through the pines ♪
460
00:23:12,133 --> 00:23:13,633
-And, I remember thinking,
461
00:23:13,733 --> 00:23:17,433
"My God, if I could ever write
a song that would move anybody
462
00:23:17,533 --> 00:23:21,000
even a tenth as much
as I'm being moved
463
00:23:21,100 --> 00:23:26,600
by this experience now,
I would look no further."
464
00:23:26,700 --> 00:23:35,200
-♪ Other eyes smile tenderly
465
00:23:35,300 --> 00:23:40,300
♪ Still in peaceful
dreams I see ♪
466
00:23:40,400 --> 00:23:43,100
♪ Whoa-oa, I know the road
467
00:23:43,200 --> 00:23:47,500
-Ray Charles was
an amazing storyteller.
468
00:23:47,600 --> 00:23:48,900
Lord have mercy.
469
00:23:49,000 --> 00:23:51,900
-♪ Whoa, Georgia, no
470
00:23:52,000 --> 00:23:55,200
-He could take a song and, oh!
471
00:23:55,300 --> 00:23:59,333
-♪ I'm calling my Georgia
472
00:23:59,433 --> 00:24:05,600
♪ No, no, no peace I find
473
00:24:05,700 --> 00:24:08,400
-Something has to resonate
with you and, you know,
474
00:24:08,500 --> 00:24:11,800
you sort of forget that,
you know, there's a technique
475
00:24:11,900 --> 00:24:14,933
of singing involved,
and that you just sort of go
476
00:24:15,033 --> 00:24:20,166
with the emotion
and really just live there.
477
00:24:20,266 --> 00:24:26,000
-♪ Oh, no,
here comes that sun again ♪
478
00:24:26,100 --> 00:24:32,300
♪ That means another day
without you, my friend ♪
479
00:24:32,400 --> 00:24:34,333
♪ And it hurts me
480
00:24:34,433 --> 00:24:39,700
♪ To look into
the mirror at myself ♪
481
00:24:39,800 --> 00:24:46,333
♪ And it hurts even more to
have to be with somebody else ♪
482
00:24:46,433 --> 00:24:49,800
♪ And it's so hard to do
483
00:24:49,900 --> 00:24:53,166
♪ And so easy to say
484
00:24:53,266 --> 00:24:59,400
♪ But sometimes, sometimes,
you have to walk away ♪
485
00:24:59,500 --> 00:25:03,666
♪ Wa-alk away
486
00:25:03,766 --> 00:25:06,833
My voice has no place on
"American Idol."
487
00:25:06,933 --> 00:25:08,466
I'd get laughed off, bombed off,
488
00:25:08,566 --> 00:25:10,466
and kicked off of
"American Idol,"
489
00:25:10,566 --> 00:25:12,133
or "The Voice,"
or any of those shows.
490
00:25:12,233 --> 00:25:14,033
I'd be booted outta there
so quick, man,
491
00:25:14,133 --> 00:25:15,500
it'd make your head spin.
492
00:25:15,600 --> 00:25:21,800
♪ Why do I worry about one
493
00:25:21,900 --> 00:25:24,066
I don't have that voice,
494
00:25:24,166 --> 00:25:27,600
but the voice I do have
serves what I've lived,
495
00:25:27,700 --> 00:25:32,333
what I feel,
and what I perceive...
496
00:25:32,433 --> 00:25:33,933
I would say as well as anybody,
497
00:25:34,033 --> 00:25:36,333
but I've heard covers of my own
songs that are better than mine.
498
00:25:36,433 --> 00:25:41,666
-One of the truisms of most
of the singers I know,
499
00:25:41,766 --> 00:25:46,266
and great singers, too,
none of them like their voice.
500
00:25:46,366 --> 00:25:51,666
The only singer, I think, that
likes his voice is Rod Stewart.
501
00:25:51,766 --> 00:25:53,966
Every other singer I know --
502
00:25:54,066 --> 00:25:55,866
Elton tries to disguise
his voice
503
00:25:55,966 --> 00:25:57,733
with that strange sound he has
on his mic.
504
00:25:57,833 --> 00:25:59,100
Phil Collins.
505
00:25:59,200 --> 00:26:01,133
No, none of 'em like the sound
of their voice.
506
00:26:01,233 --> 00:26:02,666
Horrible to hear yourself
singing.
507
00:26:02,766 --> 00:26:04,733
-♪ I remember throwing
punches around ♪
508
00:26:04,833 --> 00:26:08,100
♪ And preachin' from my chair
509
00:26:08,200 --> 00:26:09,400
♪ Well, who are you?
510
00:26:09,500 --> 00:26:11,200
-♪ Who are you?
511
00:26:11,300 --> 00:26:13,100
♪ Who, who, who, who?
512
00:26:13,200 --> 00:26:14,300
-♪ I really wanna know
513
00:26:14,400 --> 00:26:18,700
-♪ Who are you?
Who, who, who, who? ♪
514
00:26:18,800 --> 00:26:22,233
-I always kinda listen like
that -- my fingers in my ears
515
00:26:22,333 --> 00:26:24,600
when I first hear it,
but after a while,
516
00:26:24,700 --> 00:26:27,700
I get used to it,
and I can bear it,
517
00:26:27,800 --> 00:26:31,400
and I can think through it
and feel through it, so.
518
00:26:31,500 --> 00:26:34,433
But when I first hear myself
sing a song, it's like,
519
00:26:34,533 --> 00:26:36,166
"Yuck! [ Chuckling ]
This is horrible."
520
00:26:36,266 --> 00:26:43,000
♪ Whooooooooooooooooo are you?
521
00:26:43,100 --> 00:26:45,100
-Most singers will tell you
that headphones,
522
00:26:45,200 --> 00:26:47,533
the first thing that headphones
do is mess with your pitch,
523
00:26:47,633 --> 00:26:50,233
'cause you start singing
to those headphones.
524
00:26:50,333 --> 00:26:53,366
-♪ My name is Luka
525
00:26:53,466 --> 00:26:55,866
♪ I live on the second floor
526
00:26:55,966 --> 00:26:58,900
-You're much more conscious of
what you're doing in the studio.
527
00:26:59,000 --> 00:27:01,733
You hear every sound.
It's very difficult to do.
528
00:27:01,833 --> 00:27:04,766
-♪ Yes, I think
you've seen me before ♪
529
00:27:04,866 --> 00:27:08,166
♪ If you hear something
late at night ♪
530
00:27:08,266 --> 00:27:12,133
♪ Some kind of trouble,
some kind of fight ♪
531
00:27:12,233 --> 00:27:16,233
♪ Just don't ask me
what it was ♪
532
00:27:16,333 --> 00:27:20,000
♪ Just don't ask me
what it was ♪
533
00:27:20,100 --> 00:27:23,166
♪ Just don't ask me
what it was ♪
534
00:27:23,266 --> 00:27:27,066
My first experiences
with recording vocals
535
00:27:27,166 --> 00:27:29,000
were a nightmare.
They were a nightmare.
536
00:27:29,100 --> 00:27:30,433
♪ Too loud
537
00:27:30,533 --> 00:27:34,300
First of all,
my voice wasn't really trained
538
00:27:34,400 --> 00:27:38,600
and I didn't really know how to
modulate it for the microphone.
539
00:27:38,700 --> 00:27:42,666
♪ Only hit until you cry
540
00:27:42,766 --> 00:27:50,133
♪ After that,
you don't ask why ♪
541
00:27:50,233 --> 00:27:53,833
♪ You just
don't argue anymore ♪
542
00:27:53,933 --> 00:27:57,666
♪ You just don't argue anymore
543
00:27:57,766 --> 00:27:59,833
There's, like, an ideal vocal
that you're aiming for,
544
00:27:59,933 --> 00:28:03,633
and you can get to it by doing
a bunch of different takes
545
00:28:03,733 --> 00:28:05,100
and then splicing them together.
546
00:28:05,200 --> 00:28:06,800
So, it's great
to take advantage of that.
547
00:28:06,900 --> 00:28:10,333
I think it's always a mistake to
try and do a perfect performance
548
00:28:10,433 --> 00:28:13,366
in the studio unless
you're that kind of singer.
549
00:28:13,466 --> 00:28:14,733
Some people do that.
They just go in,
550
00:28:14,833 --> 00:28:18,966
they do it once or twice,
and they're happy with it
551
00:28:19,066 --> 00:28:20,866
and it's got all the emotion
and it hits all the notes
552
00:28:20,966 --> 00:28:22,966
and it's in time
and it's in tune,
553
00:28:23,066 --> 00:28:26,433
and I'd say that's pretty rare.
554
00:28:26,533 --> 00:28:29,600
-There's that sweet spot,
or the non-sweet spot,
555
00:28:29,700 --> 00:28:33,400
from realizing
that recording is more than
556
00:28:33,500 --> 00:28:35,833
playing the song through
and recording it --
557
00:28:35,933 --> 00:28:37,966
that should only take
three and a half minutes, right?
558
00:28:38,066 --> 00:28:41,866
And, uh, and -- and then,
559
00:28:41,966 --> 00:28:45,466
you move on to, "Oh, maybe
some things need to be altered,"
560
00:28:45,566 --> 00:28:48,233
like, "I could have
sung that better."
561
00:28:48,333 --> 00:28:51,966
And it's -- and then you're
on the slipper slope to
562
00:28:52,066 --> 00:28:54,100
crazy perfectionist
taking three days
563
00:28:54,200 --> 00:28:55,266
to get us near a sound.
564
00:28:55,366 --> 00:28:58,700
-♪ When you found
somebody new ♪
565
00:28:58,800 --> 00:29:03,166
♪ I thought I never would
566
00:29:03,266 --> 00:29:09,033
♪ Forget you, for I thought
then I never could ♪
567
00:29:09,133 --> 00:29:12,133
There is the art of being
in the studio
568
00:29:12,233 --> 00:29:14,566
and then the art
of being live onstage
569
00:29:14,666 --> 00:29:17,133
and I don't think
everyone has both.
570
00:29:17,233 --> 00:29:23,900
♪ Until now, I'm down
to hurtin' once a day ♪
571
00:29:24,000 --> 00:29:27,266
You can go in the studio
and really focus, uh,
572
00:29:27,366 --> 00:29:30,966
in this controlled setting,
in a sense --
573
00:29:31,066 --> 00:29:34,866
it is controlled acoustically,
it's controlled musically,
574
00:29:34,966 --> 00:29:36,966
where, if you get
out on the stage,
575
00:29:37,066 --> 00:29:39,633
your deal is to communicate
to the audience
576
00:29:39,733 --> 00:29:41,766
and make them happy,
make them feel good,
577
00:29:41,866 --> 00:29:43,433
make them cry,
make them laugh,
578
00:29:43,533 --> 00:29:46,100
and start it out
and bring it to a climax
579
00:29:46,200 --> 00:29:47,933
and leave 'em
screamin' and hollerin',
580
00:29:48,033 --> 00:29:49,333
throwin' babies in the air.
581
00:29:49,433 --> 00:29:53,366
-♪ Oh-oh, I'll get him hot,
show him what I -- ♪
582
00:29:53,466 --> 00:29:55,000
Come on!
583
00:29:55,100 --> 00:29:56,766
♪ Can't read my,
can't read my ♪
584
00:29:56,866 --> 00:29:58,366
♪ No, he can't read my
585
00:29:58,466 --> 00:30:00,433
♪ Poker face
586
00:30:00,533 --> 00:30:02,966
♪ She's got me like nobody
587
00:30:03,066 --> 00:30:04,800
♪ Can't read my,
can't read my ♪
588
00:30:04,900 --> 00:30:06,400
♪ No, he can't read my
589
00:30:06,500 --> 00:30:08,166
♪ Poker face
590
00:30:08,266 --> 00:30:09,733
♪ She's got me like nobody
591
00:30:09,833 --> 00:30:11,000
Now scream!
592
00:30:11,100 --> 00:30:12,366
[ Audience screaming ]
♪ P-p-p-poker face
593
00:30:12,466 --> 00:30:14,000
♪ P-p-poker face
594
00:30:14,100 --> 00:30:16,833
-Onstage, an audience really
gives you the excitement,
595
00:30:16,933 --> 00:30:20,066
it creates the spark
that sparks the music.
596
00:30:20,166 --> 00:30:23,233
-♪ Kiss or hug you 'cause
I'm bluffin' with my muffin ♪
597
00:30:23,333 --> 00:30:25,233
♪ I'm not lyin,
I'm just stunnin' ♪
598
00:30:25,333 --> 00:30:27,033
♪ With my love glue gunnin'
599
00:30:27,133 --> 00:30:29,200
-There's none of that
in the studio.
600
00:30:29,300 --> 00:30:31,800
-♪ Take your bank
before I pay you out ♪
601
00:30:31,900 --> 00:30:33,366
♪ I promise this, promise this
602
00:30:33,466 --> 00:30:35,466
♪ Check this hand
'cause I'm marvelous ♪
603
00:30:35,566 --> 00:30:38,433
-It's kind of like the
difference between, say,
604
00:30:38,533 --> 00:30:40,733
if you were an actor --
between doing theater
605
00:30:40,833 --> 00:30:42,700
and doing a movie.
606
00:30:42,800 --> 00:30:47,600
In the studio, everything is
really under the microscope.
607
00:30:47,700 --> 00:30:49,200
-When it comes to
recording music,
608
00:30:49,300 --> 00:30:52,366
it's a very exposed place.
609
00:30:52,466 --> 00:30:54,100
Because you're really
having to bring
610
00:30:54,200 --> 00:30:56,233
the good part
of your creative persona
611
00:30:56,333 --> 00:30:59,133
and also, like, the doubts
and the flaws
612
00:30:59,233 --> 00:31:00,466
and the frustrations.
613
00:31:00,566 --> 00:31:04,066
-Great recordings really
weren't about technology,
614
00:31:04,166 --> 00:31:06,466
so much as they were
about performance,
615
00:31:06,566 --> 00:31:08,566
and performance
in very small spaces.
616
00:31:08,666 --> 00:31:12,000
The Motown space was, what,
15x17 feet?
617
00:31:12,100 --> 00:31:13,933
Musicians were on top
of each other.
618
00:31:14,033 --> 00:31:16,666
I wanna play Marvin Gaye
and Tammi Terrell's
619
00:31:16,766 --> 00:31:20,800
"Ain't No Mountain High Enough"
from the early '60s.
620
00:31:20,900 --> 00:31:22,766
-♪ If you need me, call me
621
00:31:22,866 --> 00:31:26,433
♪ No matter where you are,
no matter how far ♪
622
00:31:26,533 --> 00:31:28,300
-♪ Don't worry, baby
623
00:31:28,400 --> 00:31:32,000
-♪ Just call my name,
I'll be there in a hurry ♪
624
00:31:32,100 --> 00:31:33,900
♪ You don't have to worry
625
00:31:34,000 --> 00:31:38,433
♪ 'Cause, baby, there ain't
no mountain high enough ♪
626
00:31:38,533 --> 00:31:42,100
♪ Ain't no valley low enough
627
00:31:42,200 --> 00:31:45,666
♪ Ain't no river
wide enough ♪
628
00:31:45,766 --> 00:31:48,666
♪ To keep me from getting
to you, babe ♪
629
00:31:48,766 --> 00:31:50,533
-The instruments
are fitted together
630
00:31:50,633 --> 00:31:52,700
to dovetail with the vocals.
631
00:31:52,800 --> 00:31:55,700
This is -- this is impossible to
do when you're taking, uh,
632
00:31:55,800 --> 00:31:57,566
production a track at a time.
633
00:31:57,666 --> 00:32:01,500
-It was a vibe. It was less
about the bells and whistles
634
00:32:01,600 --> 00:32:05,100
and more about creating
and capturing a vibe.
635
00:32:05,200 --> 00:32:10,500
And, to me, you can't beat that
and it's hard to find it today,
636
00:32:10,600 --> 00:32:13,733
because everybody's doing
productions, you know?
637
00:32:13,833 --> 00:32:14,833
Wrr!
638
00:32:14,933 --> 00:32:17,166
-♪ Soft and warm
639
00:32:17,266 --> 00:32:20,166
♪ A quiet storm
640
00:32:20,266 --> 00:32:26,000
♪ Quiet as when flowers talk
at break of dawn ♪
641
00:32:26,100 --> 00:32:28,100
-Today's recording world,
people who play and sing
642
00:32:28,200 --> 00:32:29,966
on the same records
don't even see each other.
643
00:32:30,066 --> 00:32:31,133
One guy's there on Wednesday,
644
00:32:31,233 --> 00:32:32,600
the other guy's there
on Tuesday,
645
00:32:32,700 --> 00:32:34,333
and somebody's in London,
somebody's in New York,
646
00:32:34,433 --> 00:32:37,933
somebody's there at 5:00,
somebody's there at 10:00.
647
00:32:38,033 --> 00:32:41,933
But to get in a studio with
a bunch of great musicians
648
00:32:42,033 --> 00:32:47,333
and sing while they're playing,
and they're feeding
649
00:32:47,433 --> 00:32:49,166
off of each other
and you're feeding off of them,
650
00:32:49,266 --> 00:32:51,266
it's like doing a concert
in the studio.
651
00:32:51,366 --> 00:32:52,833
-♪ Oh
652
00:32:52,933 --> 00:32:58,466
♪ You short-circuit
all my nerves ♪
653
00:32:58,566 --> 00:33:03,033
♪ Promising electric things
654
00:33:03,133 --> 00:33:09,333
♪ You touch me and suddenly
there's rainbow rings ♪
655
00:33:09,433 --> 00:33:12,433
♪ Quiet storm
656
00:33:12,533 --> 00:33:14,700
♪ Blowin'
657
00:33:14,800 --> 00:33:16,866
-Everything is fragmented.
658
00:33:16,966 --> 00:33:19,133
You're singing,
but you're not getting
659
00:33:19,233 --> 00:33:21,433
a whole take in one take,
you know?
660
00:33:21,533 --> 00:33:25,533
You're maybe singing 10 takes,
and you're piecing it together,
661
00:33:25,633 --> 00:33:28,233
what you like,
just like you would a film.
662
00:33:28,333 --> 00:33:31,133
The vocal, yes, is
the centerpiece of the song,
663
00:33:31,233 --> 00:33:34,266
but you still have to think
of it as another instrument.
664
00:33:34,366 --> 00:33:38,033
♪
665
00:33:38,133 --> 00:33:43,233
-♪ Baby, you come knockin'
on my front door ♪
666
00:33:43,333 --> 00:33:48,066
♪ Same old line
you used to use before ♪
667
00:33:48,166 --> 00:33:52,400
♪ I said, yeah, well,
what am I supposed to do? ♪
668
00:33:52,500 --> 00:33:57,766
♪ I didn't know what
I was getting into ♪
669
00:33:57,866 --> 00:34:02,066
♪ So you've had
a little trouble in town ♪
670
00:34:02,166 --> 00:34:06,600
♪ Now you're keeping
some demons down ♪
671
00:34:06,700 --> 00:34:09,000
♪ Stop draggin' my
672
00:34:09,100 --> 00:34:11,166
♪ Stop draggin' my
673
00:34:11,266 --> 00:34:15,100
♪ Stop draggin'
my heart around ♪
674
00:34:15,199 --> 00:34:17,566
-In my opinion,
when you make a record,
675
00:34:17,666 --> 00:34:21,466
all things bow to the vocal.
676
00:34:21,566 --> 00:34:23,233
For me, the records that I like
677
00:34:23,333 --> 00:34:24,733
and the records
that I care about.
678
00:34:24,833 --> 00:34:29,400
-♪ It's hard to think about
what you've wanted ♪
679
00:34:29,500 --> 00:34:33,733
♪ It's had to think about
what you've lost ♪
680
00:34:33,833 --> 00:34:36,566
-So, everything has to be based
around that vocal --
681
00:34:36,666 --> 00:34:39,833
that's why I don't understand
what everyone does today,
682
00:34:39,933 --> 00:34:43,000
which is writing songs
over tracks.
683
00:34:43,100 --> 00:34:47,266
-♪ I know you really want
to tell me goodbye ♪
684
00:34:47,366 --> 00:34:48,966
-I don't understand how they
make records now
685
00:34:49,066 --> 00:34:50,500
without the vocal
being cut live.
686
00:34:50,600 --> 00:34:52,766
When I made records,
I would always insist on
687
00:34:52,866 --> 00:34:54,000
the person sing live.
688
00:34:54,100 --> 00:34:56,066
Stevie Nicks sang every one of
her vocals live.
689
00:34:56,166 --> 00:34:57,300
We'd go back
and fix them a little bit,
690
00:34:57,400 --> 00:34:59,033
but I don't want to make
a record just listening to
691
00:34:59,133 --> 00:35:00,400
a drum, a bass, and a guitar.
692
00:35:00,500 --> 00:35:04,533
-♪ So you've had
a little trouble in town ♪
693
00:35:04,633 --> 00:35:08,633
♪ Now you're keeping
some demons down ♪
694
00:35:08,733 --> 00:35:13,000
-Got this mic on yet, Shelley?
Okay, we ready to go? Okay.
695
00:35:13,100 --> 00:35:15,500
-I want to hear
what it's going to be.
696
00:35:15,600 --> 00:35:19,533
I want to hear the excitement
of the vocal.
697
00:35:19,633 --> 00:35:22,133
-♪ Da-da-i-o, de-i-o
698
00:35:22,233 --> 00:35:25,200
♪ Da-da-i-o, de-i-o
♪ Da-da-i-o, de-i-o
699
00:35:25,300 --> 00:35:27,000
Okay. So, that's
loop number one.
700
00:35:27,100 --> 00:35:29,200
♪ Da-da-i-o, de-i-o
701
00:35:29,300 --> 00:35:31,700
♪ Da-de-i-o, de-i-o, oh-oh
♪ Da-da-i-o, de-i-o
702
00:35:31,800 --> 00:35:33,833
♪ Da-da-i-o, de-i-o
703
00:35:33,933 --> 00:35:36,233
♪ Da-de-i-o, de-i-o, oh-oh
♪ Da-da-i-o, de-i-o
704
00:35:36,333 --> 00:35:38,566
♪ Da-da-i-o, de-i-o
705
00:35:38,666 --> 00:35:41,266
♪ Da-de-i-o, de-e-e-e-eh
♪ Da-da-i-o, de-i-o
706
00:35:41,366 --> 00:35:43,266
♪ Da-da-i-o, de-i-o
707
00:35:43,366 --> 00:35:45,766
♪ Da-de-i-o, de-e-e-e-eh
♪ Da-da-i-o, de-i-o
708
00:35:45,866 --> 00:35:47,833
♪ Da-da-i-o, de-i-o
709
00:35:47,933 --> 00:35:50,833
Okay. So, I've got those.
And, then I could do something.
710
00:35:50,933 --> 00:35:52,433
So, imagine this as, like,
a drumbeat.
711
00:35:52,533 --> 00:35:55,300
♪ Da-de-i-o, de-e-e-e-eh
♪ Da-da-i-o, de-i-o
712
00:35:55,400 --> 00:35:57,500
[ Beatboxing ]
713
00:35:57,600 --> 00:36:00,000
♪ Da-de-i-o, de-i-o, oh-oh
♪ Da-da-i-o, de-i-o
714
00:36:00,100 --> 00:36:02,266
♪ Da-da-i-o, de-i-o
715
00:36:02,366 --> 00:36:04,366
♪ Da-de-i-o, de-e-e-e-eh
♪ Da-da-i-o, de-i-o
716
00:36:04,466 --> 00:36:07,000
And then I could add in
a bassline.
717
00:36:07,100 --> 00:36:09,366
♪ Da-da-i-o, de-i-o
718
00:36:09,466 --> 00:36:11,733
♪ Do, do, do, do, do-do
♪ Da-da-i-o, de-i-o
719
00:36:11,833 --> 00:36:14,033
♪ Do, do, do, do, do-do
♪ Da-da-i-o, de-i-o
720
00:36:14,133 --> 00:36:16,333
♪ Do, do, do, do, do-do
♪ Da-da-i-o, de-i-o
721
00:36:16,433 --> 00:36:18,766
♪ Do, do, do, do, do-do
♪ Da-da-i-o, de-i-o
722
00:36:18,866 --> 00:36:21,133
♪ Do, do, do, do, do-do
♪ Da-da-i-o, de-i-o
723
00:36:21,233 --> 00:36:24,333
♪ Do, do, do, do, do-do
♪ Da-da-i-o, de-i-o
724
00:36:24,433 --> 00:36:26,266
And then...
♪ Da-de-i-o, de-i-o, oh-oh
725
00:36:26,366 --> 00:36:28,066
♪ Da-da-i-o, de-i-o
♪ Do, do, do, do, do-do
726
00:36:28,166 --> 00:36:30,833
♪ Da-da-i-o, de-i-o
♪ Da-de-i-o, de-e-e-e-eh
727
00:36:30,933 --> 00:36:32,766
♪ Da-da-i-o, de-i-o
...sing something over the top.
728
00:36:32,866 --> 00:36:35,333
♪ Ah, lo, lo, oh, oh
♪ Da-da-i-o, de-i-o
729
00:36:35,433 --> 00:36:38,066
♪ Da-de-i-o, de-i-o, oh-oh
♪ Da-da-i-o, de-i-o
730
00:36:38,166 --> 00:36:39,800
♪ And, you know, sometimes
♪ Da-da-i-o, de-i-o
731
00:36:39,900 --> 00:36:41,800
♪ I write a song
♪ Da-da-i-o, de-i-o
732
00:36:41,900 --> 00:36:44,133
♪ I'm playing around
♪ Da-de-i-o, de-e-e-e-eh
733
00:36:44,233 --> 00:36:46,166
♪ In the studio for hours
♪ Da-da-i-o, de-i-o
734
00:36:46,266 --> 00:36:48,700
♪ And I just sing some stuff
♪ Da-de-i-o, de-e-e-e-eh
735
00:36:48,800 --> 00:36:50,866
♪ That comes into my head
♪ Da-da-i-o, de-i-o
736
00:36:50,966 --> 00:36:53,366
♪ And then I'll record it all
♪ Da-de-i-o, de-i-o, oh-oh
737
00:36:53,466 --> 00:36:56,133
♪ And maybe
then I'll listen back ♪
738
00:36:56,233 --> 00:36:58,300
♪ And find some nice bits
♪ Da-da-i-o, de-i-o
739
00:36:58,400 --> 00:37:01,666
♪ And make a song out of it
♪ Da-de-i-o, de-e-e-e-eh
740
00:37:01,766 --> 00:37:05,266
♪ Da-da-i-o, de-i-o
♪ Da-da-i-o, de-i-o
741
00:37:05,366 --> 00:37:08,266
And then, I can go back and
practice some other bits, like.
742
00:37:08,366 --> 00:37:09,833
♪ Do, do, do, do, do-do
♪ Da-da-i-o, de-i-o
743
00:37:09,933 --> 00:37:12,433
Go back to the first loop...
♪ Da-da-i-o, de-i-o
744
00:37:12,533 --> 00:37:15,300
...which is how it all began.
♪ Da-da-i-o, de-i-o
745
00:37:15,400 --> 00:37:17,400
[ Vocalizing ]
♪ Da-da-i-o, de-i-o
746
00:37:17,500 --> 00:37:20,133
♪ Do, do, do, do, do-do
♪ Da-da-i-o, de-i-o
747
00:37:20,233 --> 00:37:22,500
♪ Da-de-i-o, de-e-e-e-eh
♪ Da-da-i-o, de-i-o
748
00:37:22,600 --> 00:37:24,866
♪ Do, do, do, do, do-do
♪ Da-da-i-o, de-i-o
749
00:37:24,966 --> 00:37:27,366
♪ Da-de-i-o, de-i-o, oh-oh
♪ Da-da-i-o, de-i-o
750
00:37:27,466 --> 00:37:28,800
♪ Do, do, do, do, do-do
♪ Da-da-i-o, de-i-o
751
00:37:28,900 --> 00:37:30,833
♪ Whoa
♪ Da-da-i-o, de-i-o
752
00:37:30,933 --> 00:37:32,833
♪ La, de, da, de, ay
♪ Da-de-i-o, de-e-e-e-eh
753
00:37:32,933 --> 00:37:34,266
♪ Do, do, do, do, do-do
♪ Da-da-i-o, de-i-o
754
00:37:34,366 --> 00:37:36,500
[ Beatboxing ]
♪ Da-da-i-o, de-i-o
755
00:37:36,600 --> 00:37:38,900
♪ Da-de-i-o, de-e-e-e-eh
♪ Da-da-i-o, de-i-o
756
00:37:39,000 --> 00:37:41,200
♪ Do, do, do, do, do-do
♪ Da-da-i-o, de-i-o
757
00:37:41,300 --> 00:37:43,466
♪ Da-de-i-o, de-i-o, oh-oh
♪ Da-da-i-o, de-i-o
758
00:37:43,566 --> 00:37:45,766
♪ Do, do, do, do, do-do
♪ Da-da-i-o, de-i-o
759
00:37:45,866 --> 00:37:48,133
♪ Da-de-i-o, de-e-e-e-eh
♪ Da-da-i-o, de-i-o
760
00:37:48,233 --> 00:37:50,400
♪ Do, do, do, do, do-do
♪ Da-da-i-o, de-i-o
761
00:37:50,500 --> 00:37:53,200
♪ Da-de-i-o, de-i-o, oh-oh
♪ Da-da-i-o, de-i-o
762
00:37:53,300 --> 00:37:55,400
[ Beatboxing ]
763
00:37:55,500 --> 00:37:57,533
And there we go.
♪ Da-de-i-o, de-i-o, oh-oh
764
00:37:57,633 --> 00:37:59,800
[ Beatboxing ]
765
00:37:59,900 --> 00:38:02,266
♪ Hey, oh
766
00:38:02,366 --> 00:38:03,633
[ Chuckles ]
767
00:38:03,733 --> 00:38:06,800
-Your voice is so much of what
identifies who you are,
768
00:38:06,900 --> 00:38:09,600
your character and how
you're recognized.
769
00:38:09,700 --> 00:38:13,966
-[ Synthesized ]
♪ Where are we?
770
00:38:14,066 --> 00:38:20,900
♪ What the hell is going on?
771
00:38:21,000 --> 00:38:23,566
-And, I think, as a performer,
you're already inhabiting
772
00:38:23,666 --> 00:38:26,733
sort of a different person,
which could be the real you,
773
00:38:26,833 --> 00:38:29,300
as a lot of performers say,
or it could be pure escapism.
774
00:38:29,400 --> 00:38:31,766
-♪ Begun
775
00:38:31,866 --> 00:38:34,366
-Tonight, we present
a new miracle of electricity,
776
00:38:34,466 --> 00:38:35,800
the Sonovox.
777
00:38:35,900 --> 00:38:38,166
Harry Babbitt,
using special Sonovox units,
778
00:38:38,266 --> 00:38:41,733
gives diction to the tones
of the instruments as they play.
779
00:38:41,833 --> 00:38:44,833
Harry forms the words,
but the instruments sing 'em.
780
00:38:44,933 --> 00:38:46,166
Sing it, saxes!
781
00:38:46,266 --> 00:38:49,633
-♪ I'd know you anywhere
782
00:38:49,733 --> 00:38:52,566
♪ I know that grin
783
00:38:52,666 --> 00:38:56,100
-And we've always had this
attraction from an early age
784
00:38:56,200 --> 00:38:57,733
at altering our voices.
785
00:38:57,833 --> 00:38:59,766
I think that happens with,
you know, hookin' up to
786
00:38:59,866 --> 00:39:02,200
the clown balloon dispenser
at a birthday party,
787
00:39:02,300 --> 00:39:05,100
and here's a way to explore
different characters,
788
00:39:05,200 --> 00:39:08,233
and what's more human than
wanting to be something else?
789
00:39:08,333 --> 00:39:10,533
-[ Synthesized ]
♪ More bounce
790
00:39:10,633 --> 00:39:12,966
Whoo!
791
00:39:13,066 --> 00:39:15,500
♪ More bounce
792
00:39:15,600 --> 00:39:19,500
-"More Bounce to the Ounce",
I mean, when that dropped,
793
00:39:19,600 --> 00:39:24,766
drivin' down Crenshaw Boulevard
in L.A., playin' Roger & Zapp,
794
00:39:24,866 --> 00:39:26,300
you're sure to get
a girl's attention.
795
00:39:26,400 --> 00:39:29,233
Marvin Gaye or Roger Troutman --
can't miss.
796
00:39:29,333 --> 00:39:32,233
-♪ More bounce to the ounce
797
00:39:32,333 --> 00:39:35,366
-Roger Troutman and Zapp,
to get that sound,
798
00:39:35,466 --> 00:39:38,900
you had to take a tube, hook it
up to an electrical charge,
799
00:39:39,000 --> 00:39:41,000
and it would send an electrical
current down your throat
800
00:39:41,100 --> 00:39:42,633
that would then go through
a box,
801
00:39:42,733 --> 00:39:44,833
and go through whatever
instrument you were playing...
802
00:39:44,933 --> 00:39:47,566
-Come on!
[ Synthesized ] ♪ Yeah, yeah
803
00:39:47,666 --> 00:39:49,466
-...your voice,
through the electrical charge
804
00:39:49,566 --> 00:39:51,433
and current that was going
into your throat,
805
00:39:51,533 --> 00:39:54,566
was coloring whatever instrument
you were playing.
806
00:39:54,666 --> 00:39:56,800
-♪ Say, "Yeah, yeah, yeah!
807
00:39:56,900 --> 00:40:00,266
After an hour of recording
with that thing, it hurt.
808
00:40:00,366 --> 00:40:01,933
So, now they have what's called
Auto-Tune,
809
00:40:02,033 --> 00:40:03,900
and it's just the processed
version of that sound,
810
00:40:04,000 --> 00:40:07,633
which sounds exactly like it,
and is equally as cool,
811
00:40:07,733 --> 00:40:09,700
just without the suffering
and torture.
812
00:40:09,800 --> 00:40:11,333
-Auto-Tune is a software.
813
00:40:11,433 --> 00:40:14,533
It's basically an algorithm
that is designed to take
814
00:40:14,633 --> 00:40:17,233
a singer's vocal
pitch imperfections,
815
00:40:17,333 --> 00:40:19,300
and then put them on pitch.
816
00:40:19,400 --> 00:40:21,800
-And the way we recognize
Auto-Tune
817
00:40:21,900 --> 00:40:24,100
is not recognizing it at all.
818
00:40:24,200 --> 00:40:27,500
-Uh, hey, Dad.
I need to talk to you.
819
00:40:27,600 --> 00:40:28,966
The chick that wrote
the theme song
820
00:40:29,066 --> 00:40:31,133
to the new "Hunger Games"
movie is you?
821
00:40:31,233 --> 00:40:33,066
-Yeah.
-Wha-- wait.
822
00:40:33,166 --> 00:40:34,400
Lorde sounds like a girl.
823
00:40:34,500 --> 00:40:37,166
-Auto-Tune.
You wanna see how I do it?
824
00:40:37,266 --> 00:40:38,633
[ Computer chimes ]
825
00:40:38,733 --> 00:40:40,133
I use this program to import
826
00:40:40,233 --> 00:40:42,100
the recordings I make
on my phone.
827
00:40:42,200 --> 00:40:46,200
♪ Sparklin' thoughts
give me the hope to go on ♪
828
00:40:46,300 --> 00:40:47,333
[ Farts ]
829
00:40:47,433 --> 00:40:49,500
-Dad, Lorde's music
is actually really good.
830
00:40:49,600 --> 00:40:52,933
-Thanks, but it gets even better
when I add the drum loops.
831
00:40:53,033 --> 00:40:54,433
[ Drum kit playing ]
832
00:40:54,533 --> 00:40:56,366
♪ Yeah, yeah, feelin' good
on a Wednesday ♪
833
00:40:56,466 --> 00:40:59,833
Then, with the computer, I can
actually quantize everything,
834
00:40:59,933 --> 00:41:01,633
backup instruments,
835
00:41:01,733 --> 00:41:03,600
and then finally,
I use the Auto-Tune.
836
00:41:03,700 --> 00:41:06,533
-♪ Sparkling thoughts,
feelin' good on a Wednesday ♪
837
00:41:06,633 --> 00:41:12,233
♪ Givin' me the hope, givin',
givin' me the hope to go on ♪
838
00:41:12,333 --> 00:41:14,733
♪ What I need is
a little bit of shelter ♪
839
00:41:14,833 --> 00:41:15,900
-Stan?
840
00:41:16,000 --> 00:41:19,466
Would you Auto-Tune Patti Smith?
No.
841
00:41:19,566 --> 00:41:21,566
Carole King?
No.
842
00:41:21,666 --> 00:41:23,200
Janis Joplin? Oh, my God, she --
843
00:41:23,300 --> 00:41:25,900
if they, uh, put Auto-Tune
on Janis Joplin,
844
00:41:26,000 --> 00:41:28,100
she would sound like that
"Believe."
845
00:41:28,200 --> 00:41:34,066
-♪ Oh, do you believe in life
after love? ♪
846
00:41:34,166 --> 00:41:36,733
-And you know that's where
that came from.
847
00:41:36,833 --> 00:41:41,166
That sound came from,
and I love Cher,
848
00:41:41,266 --> 00:41:43,366
but they must have accidentally
849
00:41:43,466 --> 00:41:45,700
left it on while
she was singing.
850
00:41:45,800 --> 00:41:47,133
I know this is what happened.
851
00:41:47,233 --> 00:41:49,933
And then, it went [vocalizing]
and they were, like,
852
00:41:50,033 --> 00:41:51,766
"What is that? That's cool."
853
00:41:51,866 --> 00:41:53,400
♪ Inside me say
854
00:41:53,500 --> 00:41:56,766
♪ "I really don't think
you're strong enough, no" ♪
855
00:41:56,866 --> 00:41:58,266
-I bought that Cher record,
"Believe."
856
00:41:58,366 --> 00:41:59,333
I loved it.
I thought it was brilliant
857
00:41:59,433 --> 00:42:02,433
and what I'm told is
that they put --
858
00:42:02,533 --> 00:42:05,966
the engineer put that much of it
on there kind of as a goof,
859
00:42:06,066 --> 00:42:09,433
you know, and Cher took home
a rough mix,
860
00:42:09,533 --> 00:42:12,133
and they were planning
to moderate
861
00:42:12,233 --> 00:42:14,000
that whole thing massively
and she went,
862
00:42:14,100 --> 00:42:17,300
"No. No. Keep it all on.
It's fantastic."
863
00:42:17,400 --> 00:42:20,800
But, whatever it was,
they left it on there,
864
00:42:20,900 --> 00:42:22,900
and of course it became
a template
865
00:42:23,000 --> 00:42:26,066
for many vocals to come.
866
00:42:26,166 --> 00:42:29,000
-What happens a generation
or a half a generation later
867
00:42:29,100 --> 00:42:31,666
is that R&B artists
and hip-hop artists,
868
00:42:31,766 --> 00:42:33,666
they discover they actually
869
00:42:33,766 --> 00:42:35,266
really like the sound
of Auto-Tune.
870
00:42:35,366 --> 00:42:38,433
They like the sound of this kind
of robotic other-worldliness,
871
00:42:38,533 --> 00:42:40,766
something that sounds
completely unnatural.
872
00:42:40,866 --> 00:42:42,466
[ Bass thumps ]
873
00:42:42,566 --> 00:42:43,933
One of the first people
to do it in a big way,
874
00:42:44,033 --> 00:42:46,166
that surprised a lot of people,
was actually Kanye West.
875
00:42:46,266 --> 00:42:50,400
-[ Auto-tuned ] ♪ I'm not loving
you, way I wanted to ♪
876
00:42:50,500 --> 00:42:54,333
♪ What I had to do,
had to run from you ♪
877
00:42:54,433 --> 00:42:57,633
-Previous to this,
Kanye is best known for
878
00:42:57,733 --> 00:43:01,000
really soulful samples
and funk and jazz samples.
879
00:43:01,100 --> 00:43:03,500
And then he puts out this album
called "808s & Heartbreak",
880
00:43:03,600 --> 00:43:07,366
which is all cold,
chilly, metallic,
881
00:43:07,466 --> 00:43:08,700
and he's using Auto-Tune.
882
00:43:08,800 --> 00:43:10,533
-♪ Till it's over, love
883
00:43:10,633 --> 00:43:12,333
♪ Till we lose control
884
00:43:12,433 --> 00:43:14,666
[ Distorted ]
♪ System overload
885
00:43:14,766 --> 00:43:17,200
-And a lot of his fans
just didn't understand.
886
00:43:17,300 --> 00:43:18,866
"Why are you messing with
Auto-Tune in a way
887
00:43:18,966 --> 00:43:21,000
that just sounds
completely inconsistent
888
00:43:21,100 --> 00:43:23,766
with sort of what you've put out
musically before?
889
00:43:23,866 --> 00:43:26,900
But, I think for Kanye, I mean,
this is partly him
890
00:43:27,000 --> 00:43:28,466
wanting to experiment
with something new,
891
00:43:28,566 --> 00:43:30,100
with trying a new technique.
892
00:43:30,200 --> 00:43:31,300
"808s & Heartbreak"
also comes out
893
00:43:31,400 --> 00:43:34,733
after his mother
has passed away,
894
00:43:34,833 --> 00:43:36,966
after he's been
through a major breakup.
895
00:43:37,066 --> 00:43:38,566
-♪ Your love lockdown
896
00:43:38,666 --> 00:43:40,700
♪ Keeping your love lockdown
897
00:43:40,800 --> 00:43:44,500
-And he creates this album
whose mechanical sheen of it
898
00:43:44,600 --> 00:43:47,033
is very much, I think,
reflective, one could say,
899
00:43:47,133 --> 00:43:50,700
of perhaps his emotional state
when he recorded it.
900
00:43:50,800 --> 00:43:52,766
-♪ I'm not loving you,
way I wanted to ♪
901
00:43:52,866 --> 00:43:57,100
-If you are an artist,
902
00:43:57,200 --> 00:44:00,300
and you take a bit
of technology
903
00:44:00,400 --> 00:44:03,566
and you're gonna use that to
sort of distinguish your sound,
904
00:44:03,666 --> 00:44:06,733
some people are gonna do that
and make it sound really cool.
905
00:44:06,833 --> 00:44:10,466
Other people are gonna
make you turn off
906
00:44:10,566 --> 00:44:12,533
whatever it is
you're listening to.
907
00:44:12,633 --> 00:44:14,366
-♪ In the danger zone
908
00:44:14,466 --> 00:44:17,300
-I don't care what people do,
if it works. I don't care.
909
00:44:17,400 --> 00:44:19,700
I don't care how that magician
did that magic.
910
00:44:19,800 --> 00:44:21,200
I don't care. Fine by me.
911
00:44:21,300 --> 00:44:22,966
I'm really not a purist
in that respect.
912
00:44:23,066 --> 00:44:24,533
-♪ I ain't even know it
-♪ Even know it
913
00:44:24,633 --> 00:44:25,733
-♪ Even know it
♪ Know it
914
00:44:25,833 --> 00:44:27,000
♪ Till they call you
to the stage ♪
915
00:44:27,100 --> 00:44:29,233
-You taking advantage of what
the technology is.
916
00:44:29,333 --> 00:44:32,133
Like, what makes the song
sound its best?
917
00:44:32,233 --> 00:44:34,600
-♪ Booty going up, down
918
00:44:34,700 --> 00:44:37,433
-I think it's kind of future-y
and -- I don't know.
919
00:44:37,533 --> 00:44:39,633
I think it's an interesting
effect.
920
00:44:39,733 --> 00:44:41,933
-♪ I can do this all day
like it ain't nuttin' ♪
921
00:44:42,033 --> 00:44:44,266
-I don't listen
to a lot of records
922
00:44:44,366 --> 00:44:46,766
that have Auto-Tune vocals
on 'em.
923
00:44:46,866 --> 00:44:49,100
You know what I mean?
Like, I'm sure I do.
924
00:44:49,200 --> 00:44:51,066
I hear them, but it's not like
I'm puttin' my money down
925
00:44:51,166 --> 00:44:53,366
to be, like, "That's my..."
926
00:44:53,466 --> 00:44:55,800
-There's something great about
not fixing stuff, you know?
927
00:44:55,900 --> 00:44:58,633
I leave funky notes in
all the time and slide notes
928
00:44:58,733 --> 00:45:01,733
that aren't quite up to it,
and I'll tune it back up
929
00:45:01,833 --> 00:45:04,566
and it just loses a lot of
the edge to it, you know?
930
00:45:04,666 --> 00:45:06,633
It's sorta like going around
a corner on two wheels.
931
00:45:06,733 --> 00:45:08,166
Let's hear it. Come on.
932
00:45:08,266 --> 00:45:12,400
-So, I'm not a big anti-analog,
or anti-digital,
933
00:45:12,500 --> 00:45:16,566
or anti-anything, because I'm a
groove and a performance person.
934
00:45:16,666 --> 00:45:18,900
I would always say to Madonna,
935
00:45:19,000 --> 00:45:21,800
"Give me as much emotion
as you can,
936
00:45:21,900 --> 00:45:24,166
because I don't have any button
that I can push
937
00:45:24,266 --> 00:45:26,000
that can put that in," right?
938
00:45:26,100 --> 00:45:28,133
I can fix your pitch.
I can fix your timing.
939
00:45:28,233 --> 00:45:29,500
I can fix all sorts of stuff.
940
00:45:29,600 --> 00:45:32,066
I can't fix emotion.
Put that in there,
941
00:45:32,166 --> 00:45:34,233
and I'll figure the rest of
the stuff out if I have to.
942
00:45:34,333 --> 00:45:36,166
-Now that Auto-Tune has become
a sound,
943
00:45:36,266 --> 00:45:39,233
if you want that as part of
your sound, by all means.
944
00:45:39,333 --> 00:45:42,266
It's a sound, and it works.
945
00:45:42,366 --> 00:45:45,133
So, if you want that
as your sound, go,
946
00:45:45,233 --> 00:45:50,766
but if you want your voice
as your sound, no effects...
947
00:45:50,866 --> 00:45:52,200
start workin' on scales.
948
00:45:52,300 --> 00:45:54,700
[ Playing jazz outro ]
949
00:45:54,800 --> 00:45:57,800
-[ Vocalizing ]
950
00:46:03,700 --> 00:46:06,300
-There's not a lot
of Christinas.
951
00:46:06,400 --> 00:46:08,833
That woman can sing.
952
00:46:08,933 --> 00:46:11,533
-♪ I could feel it
from the start, oh! ♪
953
00:46:11,633 --> 00:46:14,600
-And she can change her voice
954
00:46:14,700 --> 00:46:16,800
and do so many wonderful
things with it.
955
00:46:16,900 --> 00:46:19,566
-♪ Caught my eye
956
00:46:19,666 --> 00:46:23,466
♪ Something moved me
deep inside ♪
957
00:46:23,566 --> 00:46:26,833
-Her problem
is her perfectionism.
958
00:46:26,933 --> 00:46:28,500
That's where she gets
into trouble,
959
00:46:28,600 --> 00:46:30,966
when she tries to perfect
the vocal.
960
00:46:31,066 --> 00:46:34,666
-♪ Mother, my brother,
my sister, and my friend ♪
961
00:46:34,766 --> 00:46:37,700
-Troubled waters there, but when
Christina just sings...
962
00:46:37,800 --> 00:46:43,900
-♪ And every time I see you,
everything starts making sense ♪
963
00:46:44,000 --> 00:46:46,100
-I'm a crazy,
uber-perfectionist.
964
00:46:46,200 --> 00:46:47,800
I like to hear everything
a certain way.
965
00:46:47,900 --> 00:46:50,666
Even if I do a great take,
I have to do it again
966
00:46:50,766 --> 00:46:52,900
and again and again,
just to make sure it's, like,
967
00:46:53,000 --> 00:46:55,333
"Oh, okay, that's great.
Let's get another option.
968
00:46:55,433 --> 00:46:57,833
Let's, let's try it this way.
Let's do it that way."
969
00:46:57,933 --> 00:47:01,433
And to a point where I drive
myself a little cuckoo crazy,
970
00:47:01,533 --> 00:47:05,366
and me always striving
for the best, you know,
971
00:47:05,466 --> 00:47:08,300
vocal acrobatics that I could do
and challenging myself,
972
00:47:08,400 --> 00:47:13,066
all about challenging myself,
all my life.
973
00:47:13,166 --> 00:47:14,700
[whispering]
Don't look at me.
974
00:47:14,800 --> 00:47:19,100
-As soon as she said,
"Don't look at me," I heard it,
975
00:47:19,200 --> 00:47:22,233
the vulnerability in her voice,
the insecurity that,
976
00:47:22,333 --> 00:47:26,166
oh, she really doesn't
think she's all that.
977
00:47:26,266 --> 00:47:30,866
-♪ Every day is so wonderful
978
00:47:30,966 --> 00:47:32,866
♪ Then suddenly
979
00:47:32,966 --> 00:47:38,633
-It's letting go of ego
and being open to failing.
980
00:47:38,733 --> 00:47:43,166
-♪ Now and then I get insecure
981
00:47:43,266 --> 00:47:48,333
-The beautiful thing
about that version is
982
00:47:48,433 --> 00:47:54,866
when Christina sang it,
it was just -- it was emotional.
983
00:47:54,966 --> 00:47:57,933
That was the take
that I knew, right,
984
00:47:58,033 --> 00:47:59,433
that that was
the master take.
985
00:47:59,533 --> 00:48:03,100
I added the drums and everything
after the fact.
986
00:48:03,200 --> 00:48:06,066
And Christina kept on coming
to me, "I gotta resing that."
987
00:48:06,166 --> 00:48:07,433
You know,
"When can I resing that?"
988
00:48:07,533 --> 00:48:09,000
I'm, like, "Resing it?
989
00:48:09,100 --> 00:48:12,833
Are you crazy? This is magical.
990
00:48:12,933 --> 00:48:16,000
Like, people would die
for this emotion."
991
00:48:16,100 --> 00:48:21,166
-♪ So don't you bring me
down today ♪
992
00:48:21,266 --> 00:48:24,066
-So, she kept on saying,
"But, wait a minute.
993
00:48:24,166 --> 00:48:25,833
It's not -- that was
my first take."
994
00:48:25,933 --> 00:48:27,366
I'm, like, "I know!"
995
00:48:27,466 --> 00:48:29,033
She's, like,
"But I can do better."
996
00:48:29,133 --> 00:48:30,433
I go, "I know you can.
997
00:48:30,533 --> 00:48:32,066
That's why you're not gonna
resing it."
998
00:48:32,166 --> 00:48:33,366
-♪ To all your friends,
you're delirious ♪
999
00:48:33,466 --> 00:48:35,633
-It was like seven months
of this.
1000
00:48:35,733 --> 00:48:37,333
Like, the album is,
you know, done.
1001
00:48:37,433 --> 00:48:42,300
It's being mastered,
and she's still going at it.
1002
00:48:42,400 --> 00:48:45,000
So, we go in the studio,
put it all up,
1003
00:48:45,100 --> 00:48:47,133
and she starts singing,
1004
00:48:47,233 --> 00:48:49,600
and I just literally just
one time she -- I mean,
1005
00:48:49,700 --> 00:48:51,700
we were, like,
maybe a minute into the song,
1006
00:48:51,800 --> 00:48:55,966
if even that, I just stopped,
and I'm, like, "We're done."
1007
00:48:56,066 --> 00:48:57,600
And she's, like,
"What do you mean we're done?"
1008
00:48:57,700 --> 00:49:02,233
I'm, like, "I can hear already
you're oversinging,
1009
00:49:02,333 --> 00:49:06,166
you're overperfecting,
and you're ruining this song."
1010
00:49:06,266 --> 00:49:08,500
-♪ Down, oh, no
1011
00:49:08,600 --> 00:49:10,066
I'm, like,
"Oh, what does she mean?
1012
00:49:10,166 --> 00:49:11,966
God, what am I doing?
What am I doing wrong?!
1013
00:49:12,066 --> 00:49:13,900
I don't understand this form
of perfection."
1014
00:49:14,000 --> 00:49:16,633
And then, I finally realized
there is no perfection.
1015
00:49:16,733 --> 00:49:21,266
It's about finding the beauty
in the cracks and the holes
1016
00:49:21,366 --> 00:49:24,866
and the imperfections
that's so perfect
1017
00:49:24,966 --> 00:49:28,366
and beautiful,
and I didn't really get that.
1018
00:49:28,466 --> 00:49:31,900
You know, the raw quality
of vocal cracks
1019
00:49:32,000 --> 00:49:37,000
and grainy-ness,
and all that beautiful stuff
1020
00:49:37,100 --> 00:49:39,033
that goes along with just
pure honesty,
1021
00:49:39,133 --> 00:49:41,333
which I always got lyrically,
1022
00:49:41,433 --> 00:49:44,533
but I really didn't quite
understand vocally.
1023
00:49:44,633 --> 00:49:48,200
♪ Don't you bring me down
1024
00:49:48,300 --> 00:49:52,800
♪ Mmm, mm, mm, today
1025
00:49:52,900 --> 00:49:56,733
-It's actually about people
allowing themselves
1026
00:49:56,833 --> 00:50:01,566
to be vulnerable and insecure
and not always feeling like
1027
00:50:01,666 --> 00:50:03,633
they're gonna get
everything right,
1028
00:50:03,733 --> 00:50:07,533
because that's what
the true beauty of life is.
1029
00:50:07,633 --> 00:50:10,533
It's about not really
getting it right.
1030
00:50:10,633 --> 00:50:13,933
It's just getting it right
in the moment of who you are
1031
00:50:14,033 --> 00:50:17,033
right now.
1032
00:50:17,133 --> 00:50:20,233
-Certainly, while all music
can be a mathematical equation
1033
00:50:20,333 --> 00:50:23,233
to varying degrees, soul isn't.
1034
00:50:23,333 --> 00:50:26,033
Soulfulness isn't.
1035
00:50:26,133 --> 00:50:27,900
There's such a huge,
1036
00:50:28,000 --> 00:50:30,166
great soulful place
for technology in music.
1037
00:50:30,266 --> 00:50:35,300
There is, but there is a place
where you just go over the edge
1038
00:50:35,400 --> 00:50:38,700
and lose the center
of the circle.
1039
00:50:38,800 --> 00:50:41,433
-Every generation of people
who listen and write
1040
00:50:41,533 --> 00:50:45,033
and think about music always
fear that technology
1041
00:50:45,133 --> 00:50:47,200
is gonna create
this homogenous sameness,
1042
00:50:47,300 --> 00:50:49,366
and that everything's
gonna sound the same.
1043
00:50:49,466 --> 00:50:51,366
And you can find those
complaints going back
1044
00:50:51,466 --> 00:50:53,233
to the 1920s and '30s.
1045
00:50:53,333 --> 00:50:54,833
You know, here we are almost
a hundred years later,
1046
00:50:54,933 --> 00:50:56,900
and, if you look back
on the history of it,
1047
00:50:57,000 --> 00:50:58,700
you would never say,
"Oh, yeah, music in all of these
1048
00:50:58,800 --> 00:51:01,200
different generations and eras
all sounded the same."
1049
00:51:01,300 --> 00:51:02,633
We can always find difference.
1050
00:51:02,733 --> 00:51:05,800
We can always find things that
stand out to us as being unique.
1051
00:51:05,900 --> 00:51:07,666
♪
1052
00:51:07,766 --> 00:51:10,366
-The ones that we remember are
the ones that did it really well
1053
00:51:10,466 --> 00:51:12,933
and were different
and innovative enough
1054
00:51:13,033 --> 00:51:14,766
to stand the test of time.
1055
00:51:14,866 --> 00:51:17,266
It's not the technology
that makes great music.
1056
00:51:17,366 --> 00:51:19,633
It's what's in your heart.
1057
00:51:23,233 --> 00:51:27,600
-We don't really judge a vocal
1058
00:51:27,700 --> 00:51:30,200
on an intellectual level.
1059
00:51:35,166 --> 00:51:38,000
What we respond to
is some feeling
1060
00:51:38,100 --> 00:51:42,300
that they're
honest performances,
1061
00:51:42,400 --> 00:51:46,233
and when we start
to feel like the singer
1062
00:51:46,333 --> 00:51:51,766
is carrying some truth to us,
we make the deeper investment.
1063
00:51:51,866 --> 00:51:56,166
This is not just
the singer-songwriters.
1064
00:51:56,266 --> 00:51:58,766
It's not just
that confessional mode.
1065
00:51:58,866 --> 00:52:03,800
It's James Brown.
It could be Chic.
1066
00:52:03,900 --> 00:52:08,233
But, we know when it's,
you know --
1067
00:52:08,333 --> 00:52:10,333
this is where we start
to run out of words,
1068
00:52:10,433 --> 00:52:12,566
and we turn to authentic.
1069
00:52:12,666 --> 00:52:15,566
[ Playing "Bohemian Rhapsody" ]
1070
00:52:15,666 --> 00:52:18,400
♪
1071
00:52:18,500 --> 00:52:21,666
♪ Too late
1072
00:52:21,766 --> 00:52:24,633
♪ My time has come
1073
00:52:24,733 --> 00:52:27,366
♪ Sends shivers down my spine
1074
00:52:27,466 --> 00:52:31,133
♪ Body's aching all the time
1075
00:52:31,233 --> 00:52:33,966
♪ Goodbye, everybody
1076
00:52:34,066 --> 00:52:37,066
♪ I've got to go
1077
00:52:37,166 --> 00:52:43,766
♪ Gotta leave you all behind
and face the truth ♪
1078
00:52:43,866 --> 00:52:46,333
♪ Mama
1079
00:52:46,433 --> 00:52:50,266
♪ Ooh ooh ooh
1080
00:52:50,366 --> 00:52:53,333
♪ I don't wanna die
1081
00:52:53,433 --> 00:52:56,133
♪ I sometimes wish
I'd never been ♪
1082
00:52:56,233 --> 00:53:00,433
♪ born at all
1083
00:53:00,533 --> 00:53:04,533
♪
1084
00:53:11,100 --> 00:53:13,400
-"Soundbreaking"
is available on DVD.
1085
00:53:13,500 --> 00:53:15,800
The companion book
is also available.
1086
00:53:15,900 --> 00:53:15,966
To order, visit shopPBS.org
or call 1-800-PLAY-PBS.
86635
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