Watch This. I tweeted about this film a couple of weeks ago as I sat spellbound and tickled at nearly everything that came out of Merry Clayton's mouth, but if you haven't yet watched 20 Feet From Stardom you absolutely should.
I mean, it's my not-so-secret, completely unlikely ambition to be a backup singer so I was instantly hooked when I saw the title. Nevermind that it's since been nominated for umpteen awards, including an Oscar. It's just fun to watch if, like me, you've ever wondered who the hell was wailing "Alabama Waaaaa-haaaaa-hoooo" as they sang it back to its sweet home.
The inspiration for this post came when I was driving home a few minutes ago and that very song came on the Oldies radio station I've really been digging lately. (Don't judge me. They play Madonna on this station. And Wham. So, in my opinion, it's not really Oldies, but whatever.)
Now I'm a South Carolinian through and through, but I'mma tell you a li'l story about my first encounter with this song. In high school, every year we'd have Class Day, essentially for the seniors. But every year this song would inevitably work its way into the soundtrack of the assembly and it was without question the national anthem for a certain sector of white folks. The first few licks of guitar would sound and some kids would get to hootin' and hollerin' "Yeeaaaaahhh!" like redneck Li'l Jons while us black kids, few of us as there were, would mostly assume the I'm-just-going-to-pretend-like-it's-prayer-time-in-church position. This was the song where kids could brandish those confederate flag shirts Superman-style. There'd be a couple of choice boos and a whole lot of head shaking, but we'd mostly just wait our turn to clap on beat.
Now me personally, I always thought it was hilarious that THIS was the song that got people hype. I thought it was possibly because I was a geography snob, but the fact that we were in South Carolina singin' and swayin' so fervently for Alabama always puzzled me. I mean I heard the lyrics so I got it, but it was always kind of odd. Odder still, when I finally listened to the song all the way through, I was absolutely certain those were not white girls that sent the tail end of that song into the hypest of stratospheres. And the movie confirms that my church upbringing didn't fail me.
I won't get all overly analytical about it, but it is fascinating to think about the parallels between the backs on which the South was built and the backing vocals on which one of its so-called anthems resounds. Or maybe they aren't parallels but strands that make up the most resilient thread ever.
Anyway.
Did you ever wonder who that wailin' woman was on "Gimme Shelter?" To watch the film and hear Merry's take on it, in addition to Mick's just tickled me. I mean, everything is in the way she quotes the lyrics after initially reading them. I remember having the same reaction when I finally realized what she was screaming ... like, we essentially made the same face.
I'm besotted with Merry because she's so sassy, but the rest of the cast is so magnificent. There's no Christmas without Darlene Love, really, but it was incredible to learn the rest of her story. And if you've ever thought God was trying to tell you something, then you know Tata Vega. You've seen Judith Hill in the prelude to MJ's last hurrah, and The Waters--I had no idea who they were, but man they were not kidding--I really have heard them everywhere. Even in the Lion King's sunrise. Golly.
But do you know who "Brown Sugar" was though? Originally?! Oooh wee, those had to have been the best of times though. I mean, sook. sook.
And then there's Lisa Fischer who is basically LIVING MY DREAM LIFE. I mean ... oh, so you're just the principal backing vocalist whenever the Stones decide to hit the road? You just be travelin' around, wakin' up sangin', lullin' Sting into just lettin' you do your own thing with those pipes? Oh, okay. Right.
I remember "How Can I Ease the Pain," and I remember wondering where the girl with the Halle-Berry-cut-that-was-actually-of-hair-that-was-closer-to-mine-own and the tuxedo, um, dress went. The respect and awe I have for her voice and her active, ever-present decision to choose this path of melding her voice to give power to the melody, to enable a song to be delivered righteously just makes me absolutely adore her.
Anyway, I'm just sharing this (again) because it's one of my recent favorites, and it seems like I've heard SO many of the songs from the movie lately and it just bathes them in this whole new, fun, insider-y light. So fun.