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[ "Walk Away" plays ]
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♪ With so many people ♪
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♪ To love in my life ♪
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♪ Tell me, why do I worry
about one? ♪
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♪ But you‐u‐u ‐‐ ♪
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Oh, fuck.
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NARRATOR: The quest
for the perfect vocal track...
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HARPER:
One more time.
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♪ We are the champions,
my friend ♪
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NARRATOR: ... where artistry
meets technology...
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‐♪ I've taken my vows ♪
‐What are you doing there?
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I'm just gonna get
a rough balance, okay?
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NARRATOR: ... and pop music
becomes a collaboration
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between man and machine.
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Okay, fellas.
Let's do a take now.
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♪ Ridin' along on a carousel ♪
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♪ Trying to catch up to you ♪
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♪ Oh, oh, oh ♪
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♪ Oh‐oh‐oh, oh‐oh‐oh,
oh‐oh‐oh, oh‐oh‐oh ♪
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NARRATOR:
We think of the voice
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as the purest
of musical instruments.
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[ Vocalizing ]
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NARRATOR:
We worship it.
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The winner
of "American Idol" is...
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...Carrie Underwood!
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[ Cheers and applause ]
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♪ Take it ♪
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♪ Take another little piece
of my heart now, baby ♪
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NARRATOR:
We fret over how to capture it.
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JOPLIN: What are you gonna hear
when you hear that, Sam?
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You're gonna hear the vocal.
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What you hear
is what's up front.
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And when we play
"Piece of My Heart,"
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what's gonna be up front
is gonna be the vocal.
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‐PHILLIPS: Okay, listen.
‐MAN: Okay, let me...
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And unless the instrumental,
like, really makes a mistake,
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it's not gonna sound that wrong.
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NARRATOR: Yet we just can't
resist messing with it.
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[ Through a talk box ]
♪ Do you feel like we do? ♪
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[ Cheers and applause ]
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NARRATOR: With all the changes
in sound recording...
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♪ How can you mend
this broken heart? ♪
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...the voice
is the soul of the song.
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♪ How can you stop the rain
from falling down? ♪
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♪ All I'm trying to say is ♪
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♪ How can you stop ♪
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♪ The sun from shining? ♪
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♪ And I want to know ♪
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♪ What makes the world
go around ♪
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[ Guitar strumming ]
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MAN:
What key is it in?
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MAN #2:
It'll be an F for you.
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MAN #3: Here we go.
Just one more time.
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WOMAN: Right after I say,
"Are you sure?"
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Da da da ‐‐ yeah.
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MAN: Oh.
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MAN #2: Hal, here's how I
want to do it. Takes like this.
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BOWIE: All right, it's fun time.
Fun time.
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‐MAN #1: Here we go.
‐MAN #2: Oh, really?
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MAN #1: 17, take one.
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MAN #3:
This will be a keeper.
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[ Woman laughs ]
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So, here's where
the various elements begin.
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[ Adele's "Skyfall" plays ]
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WAS: In the studio,
speakers are always situated
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across the back of the board,
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and there's, like,
a speaker line,
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and really gifted people
can jump across that line ‐‐
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Garth Brooks and Mick Jagger,
Gladys Knight.
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Gladys Knight was amazing.
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You can be a really good singer,
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you can have all this technique,
but you never leap out.
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It's a really rare gift.
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♪ Let the sky fall ♪
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♪ When it crumbles ♪
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♪ We will stand tall ♪
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It's a certain aspect
that cuts through everything
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and makes you want to listen.
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I think, if there's a recipe,
it's human emotions.
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Melody and human emotion
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are the things that reach out
to the human psyche.
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♪ Face it all together
at skyfall ♪
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WANG: Adele is ‐‐ She sounds
like one of these kinds
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of once‐in‐a‐generation singers.
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In previous generations,
it might have been someone
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like an Aretha Franklin
or like an Ella Fitzgerald.
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What people identify and
resonate with in Adele's voice
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is her ability to project
emotion on this grand scale.
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She just taps into
that emotional heart of yourself
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and rips it out
or replaces it with something
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that she brings in
in the quality of her songs.
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♪ There's a fire
starting in my heart ♪
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EPWORTH: With vocalists,
someone has to strike a balance
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00:05:10,977 --> 00:05:16,783
between technical excellence
and complete emotional freedom,
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and I think the two
are at odds with each other
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in terms of possibly
the neurology and physiology
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of singing.
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♪ See how I'll leave
with every piece of you ♪
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♪ Don't underestimate
the things that I will do ♪
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But there's that beautiful point
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when someone hits it, you know,
your hair stands on end.
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It connects with you
in a very deep way.
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♪ Bringing me out the dark ♪
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ADELE: ♪ Finally,
I can see you crystal clear ♪
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♪ Go ahead and sell me out,
and I'll lay your ship bare ♪
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00:05:49,816 --> 00:05:54,354
♪ See how I leave
with every piece of you ♪
107
00:05:54,354 --> 00:05:59,760
♪ Don't underestimate
the things that I will do ♪
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00:05:59,760 --> 00:06:01,828
Cool.That's four of them, yeah?
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[ Laughs ]
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This is the session
that hasn't been opened since ‐‐
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until today, since we did it.
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♪ Baby, I have no story
to be told ♪
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♪ But I've heard one on you ♪
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♪ Now I'm gonna make
your head burn ♪
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"Rolling in the Deep,"
obviously,
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was an incredibly personal
piece of music
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that was driven completely
by the end of a relationship
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and her anger at the situation.
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♪ There's a fire
starting in my heart ♪
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At this little studio,
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it was basically like
a little garden shed.
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It's kind of cold,
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'cause it opened right
into this little courtyard.
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There was, like,
leaves blowing in,
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and there was this weird
little step in the studio.
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This floor was concrete.
And, it was, like...
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‐[ Foot stamps ]
‐You can't really stamp on this.
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00:06:46,139 --> 00:06:47,674
It doesn't do anything.
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And there's this ‐‐ I saw
the spot with the wooden step,
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and I was, like, "Why don't you
go and stomp on that?"
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So, I put the,
you know, the mike down,
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and she did a whole track
of stamping on this wooden step,
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and then we sort
of multitracked it.
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‐So it was about eight of her.
‐[ Foot stamping ]
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You actually hear her breaths
in it.
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00:07:04,390 --> 00:07:06,459
ADELE: [ Chuckles ]
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00:07:06,860 --> 00:07:10,831
♪ Throw your soul
through every open door ♪
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I don't think any of us can
predict when there's gonna be
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someone that comes out with
the kind of power and ability
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to reach people
of all generations,
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across all genres of music,
as Adele.
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You know ‐‐ be able
to wrap around a melody
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and really express yourself
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and modulate the way
that you're singing.
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‐♪ ... had it all ♪
‐♪ Tears are gonna fall ♪
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♪ Rolling in the deep ♪
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♪ We could have had it all ♪
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♪ You're gonna wish you
never had met me ♪
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RAITT: You know, recording's
a really personal matter,
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and you dig deep,
and you want to be naked.
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[ Guitar playing ]
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You need to just really
be present
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and get into the emotion of it.
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♪ I was in a daze,
movin' in the wrong direction ♪
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♪ Feelin' that I'd always be
the lonely one ♪
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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.
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Turned out the biggest stars
of the day
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were the women blues singers,
the classic blues singers.
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And, when I heard Bessie Smith,
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like most people
the first time they hear her,
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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.
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♪ Looka here, Daddy ♪
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♪ I want to tell you ♪
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♪ Please get out of my sight ♪
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She was the beginning
of the influence
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for all those people
that came after her,
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whether it was Dinah Washington
or Ruth Brown,
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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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and move them and were
the big stars of the day.
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They were the Beyoncés
of their day.
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♪ Don't sit around and frown ♪
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00:09:00,206 --> 00:09:05,211
♪ You've been a good ol' wagon,
Daddy ♪
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"You've been a good ol' wagon,
honey, but you done broke down."
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There's something
about Bessie Smith's connection
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00:09:13,353 --> 00:09:19,560
with all of our humanity that
leaps out of the speaker at you.
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♪ And get yourself overhauled ♪
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CLAPTON: It just wasn't like
anybody else.
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It wasn't fancy or colorful
or tricky.
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Nothing but pure emotion.
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♪ ... a good woman fall ♪
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GIDDINS: You know,
the power of her voice,
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she is sort of like
the blues Caruso.
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There's nobody else like that.
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♪ ...real man can be found ♪
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DAVIS: Today, when listening
to those old recordings,
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00:09:52,258 --> 00:09:55,996
it's difficult for everybody
to hear the greatness
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that was inherent, to say,
"My God, this was special."
194
00:10:01,201 --> 00:10:05,572
1925, Columbia was one
of the first companies
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00:10:05,572 --> 00:10:07,440
to switch
to electrical recording.
196
00:10:07,440 --> 00:10:13,379
And Bessie Smith was among the
first to record electrically.
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00:10:13,379 --> 00:10:16,049
Before that,
it was acoustic recording,
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00:10:16,049 --> 00:10:17,518
and they used the horn.
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00:10:17,518 --> 00:10:19,285
LESTER:
Before the microphone,
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00:10:19,285 --> 00:10:22,689
the equivalent of a loud speaker
amplifies the voice.
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00:10:22,689 --> 00:10:25,091
BERLINER:
You yelled, screamed,
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00:10:25,091 --> 00:10:28,228
sang, or played an instrument
into a horn.
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00:10:28,228 --> 00:10:32,065
So, you can feign intimacy
doing that,
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00:10:32,065 --> 00:10:34,400
but to really feel like
you're up there, you know,
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00:10:34,400 --> 00:10:38,605
caressing the listener's ear,
or almost whispering,
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00:10:38,605 --> 00:10:39,840
you couldn't do that.
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00:10:42,976 --> 00:10:47,581
♪ I may seem proud,
and I may act gay ♪
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00:10:47,581 --> 00:10:52,018
♪ That's just a pose,
I'm not that way ♪
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00:10:52,018 --> 00:10:53,887
GIDDINS: The microphone
changes everything
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00:10:53,887 --> 00:10:56,790
because first of all,
it allows nuance.
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00:10:56,790 --> 00:10:58,058
It allows subtlety.
212
00:10:58,058 --> 00:11:01,928
♪ I surrender, dear ♪
213
00:11:01,928 --> 00:11:06,266
♪ Those little mean things
we were doing ♪
214
00:11:06,266 --> 00:11:08,434
♪ Must have been part
of the game ♪
215
00:11:08,434 --> 00:11:11,437
Bing Crosby used this
to enormous effect
216
00:11:11,437 --> 00:11:14,775
and became
the first multimillion seller
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00:11:14,775 --> 00:11:16,910
through the microphone.
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00:11:16,910 --> 00:11:19,245
The crooner was born.
219
00:11:20,113 --> 00:11:22,048
Bing!
220
00:11:22,115 --> 00:11:23,817
Bing!
221
00:11:23,884 --> 00:11:25,251
Bing!
222
00:11:25,251 --> 00:11:26,887
It was clear that
what they were listening to
223
00:11:26,887 --> 00:11:29,289
wasn't just a voice,
the voice of a singer.
224
00:11:29,856 --> 00:11:33,159
They were hearing
this incredible invention,
225
00:11:33,159 --> 00:11:35,061
this medium of recorded sound.
226
00:11:35,061 --> 00:11:36,963
They weren't just getting
sexed up by the singer.
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00:11:36,963 --> 00:11:39,265
They were getting sexed up
by the microphone.
228
00:11:39,265 --> 00:11:43,704
ZANES: It's Bing Crosby.
It's Frank Sinatra.
229
00:11:43,704 --> 00:11:47,107
And they're right there.
230
00:11:47,107 --> 00:11:49,142
And because they're now
right there,
231
00:11:49,142 --> 00:11:54,414
we start to ask new things
of them emotionally.
232
00:11:54,414 --> 00:12:01,822
♪ I don't know why I love you
like I do ♪
233
00:12:01,822 --> 00:12:03,890
[ Women cheering ]
234
00:12:03,890 --> 00:12:08,394
♪ I don't know why, but I do ♪
235
00:12:08,394 --> 00:12:11,532
GRANATA: Sinatra
really was groundbreaking
236
00:12:11,532 --> 00:12:13,667
in his use of the microphone.
237
00:12:13,667 --> 00:12:17,137
He didn't just stand in front
of the microphone and sing.
238
00:12:17,137 --> 00:12:21,675
You can see him move in
when he's emphasizing
239
00:12:21,675 --> 00:12:23,143
a certain emotion.
240
00:12:23,143 --> 00:12:31,017
♪ I'm a fool to want you ♪
241
00:12:32,586 --> 00:12:36,723
♪ Pity me, I need you ♪
242
00:12:36,723 --> 00:12:38,124
And then,
when he starts to come back
243
00:12:38,124 --> 00:12:43,029
and really hit a note
full force, he backs off.
244
00:12:43,029 --> 00:12:47,000
♪ It must be wrong ♪
245
00:12:47,000 --> 00:12:53,406
♪ But right or wrong,
I can't get along ♪
246
00:12:53,406 --> 00:12:56,076
♪ Without you ♪
247
00:12:56,076 --> 00:12:57,844
All I can say
is that Frank Sinatra
248
00:12:57,844 --> 00:12:59,345
played the microphone better
249
00:12:59,345 --> 00:13:01,648
than any other artist
that ever sang.
250
00:13:01,648 --> 00:13:05,686
♪ Time and time again ♪
251
00:13:05,686 --> 00:13:09,122
♪ I said ♪
252
00:13:09,122 --> 00:13:14,060
♪ I'd leave you ♪
253
00:13:14,561 --> 00:13:20,500
Crosby was the first pop singer
to make you hear and understand
254
00:13:20,500 --> 00:13:22,769
and contemplate the meaning
of a lyric.
255
00:13:22,769 --> 00:13:25,038
Sinatra went deeper.
256
00:13:25,038 --> 00:13:29,209
Sinatra could ring blood
out of a lyric.
257
00:13:29,209 --> 00:13:35,582
♪ But then would come the time ♪
258
00:13:35,582 --> 00:13:39,085
♪ When I would need you ♪
259
00:13:39,085 --> 00:13:40,654
GIDDINS:
He could, like, cut a vein.
260
00:13:40,654 --> 00:13:44,691
He made the songs
much more autobiographical.
261
00:13:44,691 --> 00:13:47,427
When he sang something like,
"I'm a Fool to Love You,"
262
00:13:47,427 --> 00:13:49,530
I mean,
it's like his heart was breaking
263
00:13:49,530 --> 00:13:51,131
right there in the studio.
264
00:13:51,131 --> 00:13:56,970
♪ I'd have to say ♪
265
00:13:57,938 --> 00:14:02,676
♪ Take me back ♪
266
00:14:02,676 --> 00:14:07,213
♪ I love you ♪
267
00:14:07,213 --> 00:14:10,483
ZAK: Microphones
are like magical things.
268
00:14:11,017 --> 00:14:14,054
♪ I need you ♪
269
00:14:14,054 --> 00:14:17,591
The microphone
is the beginning of the process
270
00:14:17,591 --> 00:14:21,995
of turning musical actions
into texts, into artworks.
271
00:14:21,995 --> 00:14:23,897
It's the doorway, right?
272
00:14:23,897 --> 00:14:29,836
It takes the physical sound
waves of the acoustic event,
273
00:14:29,836 --> 00:14:32,372
and it transfers them
into a whole other medium.
274
00:14:32,372 --> 00:14:34,575
It makes them into electricity.
275
00:14:34,575 --> 00:14:36,810
Things that used to just
be fleeting and gone,
276
00:14:36,810 --> 00:14:39,980
they would still be fleeting and
gone, but for the microphone.
277
00:14:42,816 --> 00:14:47,187
♪ Well, sometimes,
I go out by myself ♪
278
00:14:47,187 --> 00:14:51,424
♪ And I look across the water ♪
279
00:14:52,926 --> 00:14:56,462
♪ And I think of all the things,
what you're doing ♪
280
00:14:56,462 --> 00:15:00,901
♪ And in my head,
I paint a picture ♪
281
00:15:00,901 --> 00:15:03,537
HARPER: Every once in a while,
an artist comes along
282
00:15:03,537 --> 00:15:07,641
and is beyond definition
or description.
283
00:15:07,641 --> 00:15:12,946
♪ And I miss your ginger hair
and the way you like to dress ♪
284
00:15:12,946 --> 00:15:15,215
♪ Won't you come on over? ♪
285
00:15:15,215 --> 00:15:19,620
♪ Stop makin' a fool out of me ♪
286
00:15:19,620 --> 00:15:24,157
♪ Why don't you come on over,
Valerie, yeah?
287
00:15:24,157 --> 00:15:26,927
Amy Winehouse
had a unique thing.
288
00:15:26,927 --> 00:15:29,295
I mean, it wasn't black soul,
289
00:15:29,295 --> 00:15:31,998
it wasn't white soul,
it wasn't British soul,
290
00:15:31,998 --> 00:15:34,267
even though it was
all of those things.
291
00:15:34,267 --> 00:15:37,904
Gal could sing her ass off
and meant every word of it,
292
00:15:37,904 --> 00:15:39,339
hauntingly.
293
00:15:39,339 --> 00:15:41,742
♪ I hope you didn't catch
a tan ♪
294
00:15:41,742 --> 00:15:46,446
♪ I hope you find the right man
who'll fix it for you ♪
295
00:15:46,446 --> 00:15:49,816
When I was working on "Amy
Winehouse: Back to Black"...
296
00:15:49,816 --> 00:15:52,753
♪ Well, sometimes I go out ♪
297
00:15:52,753 --> 00:15:53,954
♪ And again ♪
298
00:15:53,954 --> 00:15:55,689
Tommy, do you want
to end the verses
299
00:15:55,689 --> 00:15:57,223
just with those things
that you're playing,
300
00:15:57,223 --> 00:15:58,692
play it quite muted?
301
00:15:58,692 --> 00:16:01,161
The chuckachuckacha,
and then you play the notes.
302
00:16:01,161 --> 00:16:02,696
[ Guitar plays ]
303
00:16:02,696 --> 00:16:04,497
I was kind of a bit of a novice
as a producer, you know?
304
00:16:04,497 --> 00:16:06,499
I had made, up to that point,
rap music.
305
00:16:06,499 --> 00:16:08,134
‐But we don't have you.
‐Can you hear me at all?
306
00:16:08,134 --> 00:16:09,803
I can't hear myself at all,
darling.
307
00:16:09,803 --> 00:16:13,807
Yeah, I can hear myself
a little bit now. It's hard.
308
00:16:13,807 --> 00:16:16,309
I was sounding like Rod Stewart.
I'm here, like, going, "Ooh!"
309
00:16:16,309 --> 00:16:18,344
Like Rod Stewart.
Do you know what I mean?
310
00:16:18,344 --> 00:16:20,046
[ "Valerie" plays ]
311
00:16:20,046 --> 00:16:22,248
♪ Are you shopping anywhere? ♪
312
00:16:22,248 --> 00:16:25,051
♪ Changed the color
of your hair? ♪
313
00:16:25,051 --> 00:16:28,121
♪ Are you busy? ♪
314
00:16:28,121 --> 00:16:29,756
RONSON:
The voice was just ridiculous.
315
00:16:29,756 --> 00:16:32,993
Suddenly, like,
having this immense voice
316
00:16:32,993 --> 00:16:36,496
that could just unload
incredible power on a dime.
317
00:16:36,496 --> 00:16:40,133
♪ And I think what ‐‐
mnh, mnh ‐‐ dadadah ♪
318
00:16:40,133 --> 00:16:45,038
♪ And in my head,
I paint a picture ♪
319
00:16:45,038 --> 00:16:47,708
ROTH: The thing that really made
that record work was his idea
320
00:16:47,708 --> 00:16:49,710
of kind of putting
these elements together.
321
00:16:49,710 --> 00:16:51,177
WINEHOUSE: I messed up a few
times, 'cause you told me
322
00:16:51,177 --> 00:16:52,478
I was gonna have to revocal it.
323
00:16:52,478 --> 00:16:53,880
‐So, I wasn't...
‐RONSON: Yeah, I know.
324
00:16:53,880 --> 00:16:56,717
Her songwriting
with the sound of the Dap‐Kings,
325
00:16:56,717 --> 00:17:00,020
and then you kind of put it
into this pop mixing,
326
00:17:00,020 --> 00:17:02,422
compressed sound, radio sound.
327
00:17:02,422 --> 00:17:03,557
You know, that's where
you're gonna get
328
00:17:03,557 --> 00:17:05,892
that Amy Winehouse sound,
you know.
329
00:17:05,892 --> 00:17:08,361
[ "Rehab" plays ]
330
00:17:08,361 --> 00:17:10,964
♪ They tried to make me go
to rehab ♪
331
00:17:10,964 --> 00:17:14,267
♪ I said, "No, no, no" ♪
332
00:17:14,267 --> 00:17:16,469
Amy and I were carried away
with kind of, like,
333
00:17:16,469 --> 00:17:18,739
this music that we loved
and these influences.
334
00:17:18,739 --> 00:17:21,508
You think of the beginning
of "Rehab," the...
335
00:17:21,508 --> 00:17:24,344
♪ I ain't got the time ♪
336
00:17:24,344 --> 00:17:27,914
♪ And if my daddy thinks
I'm fine ♪
337
00:17:27,914 --> 00:17:30,851
♪ He's tried to make me go
to rehab ♪
338
00:17:30,851 --> 00:17:34,320
♪ I won't go, go, go ♪
339
00:17:34,320 --> 00:17:36,022
We'd been walking
down the street,
340
00:17:36,022 --> 00:17:38,992
and she was telling me a story
about her family, and she said,
341
00:17:38,992 --> 00:17:40,661
"They tried to make me go
to rehab."
342
00:17:40,661 --> 00:17:42,696
And she was like, "Pfft!
No! No! No!"
343
00:17:42,696 --> 00:17:44,565
And, I was, like,
"I hate to, like,
344
00:17:44,565 --> 00:17:47,534
turn your tragedy into a song,
Amy, but that's pretty catchy.
345
00:17:47,534 --> 00:17:49,202
Like, we should go
back to the studio
346
00:17:49,202 --> 00:17:50,771
and maybe write a song
about it."
347
00:17:50,771 --> 00:17:52,773
♪ You can teach me ♪
348
00:17:54,641 --> 00:17:56,376
The voice
is an interesting thing.
349
00:17:56,376 --> 00:17:58,612
It's so personal.
You're your own instrument.
350
00:17:58,612 --> 00:18:00,947
And it is vulnerable,
because people can judge you,
351
00:18:00,947 --> 00:18:03,483
and they can love you,
and they can hate you,
352
00:18:03,483 --> 00:18:05,652
and can be indifferent to you,
353
00:18:05,652 --> 00:18:08,755
but if you are
an authentic singer,
354
00:18:08,755 --> 00:18:12,793
really a truly authentic singer,
you resonate.
355
00:18:12,793 --> 00:18:14,294
♪ A shot glass ♪
356
00:18:14,294 --> 00:18:16,930
♪ They tried to make me go
to rehab ♪
357
00:18:16,930 --> 00:18:19,700
♪ I said, "No, no, no" ♪
358
00:18:19,700 --> 00:18:22,869
It's hard to describe someone
that is that unique.
359
00:18:22,869 --> 00:18:25,606
♪ When I come back,
you'll know, know, know ♪
360
00:18:25,606 --> 00:18:30,544
You can't put her in a box,
and how great is that?
361
00:18:30,544 --> 00:18:32,946
To have someone come along
and go, "You know what?
362
00:18:32,946 --> 00:18:35,882
You're your own ‐‐
You're your own mountain."
363
00:18:35,882 --> 00:18:39,285
♪ Cold wind ripping
down the alley at dawn ♪
364
00:18:39,285 --> 00:18:42,723
♪ And the morning paper flies ♪
365
00:18:42,723 --> 00:18:46,259
♪ Dead man lying by the side
of the road ♪
366
00:18:46,259 --> 00:18:49,162
♪ With the daylight
in his eyes ♪
367
00:18:49,162 --> 00:18:51,497
♪ Don't let it bring you down ♪
368
00:18:51,497 --> 00:18:55,401
♪ It's only castles burning ♪
369
00:18:55,401 --> 00:18:58,639
♪ Find someone who's turning ♪
370
00:18:58,639 --> 00:19:05,779
♪ And you will come around ♪
371
00:19:05,779 --> 00:19:08,048
It's an odd thing,
but a lot of people can sing,
372
00:19:08,048 --> 00:19:11,184
and then some people have just
a sound to their voice.
373
00:19:14,655 --> 00:19:18,124
♪ Blind man running through
the light of the night ♪
374
00:19:18,124 --> 00:19:21,662
♪ With an answer in his hand ♪
375
00:19:21,662 --> 00:19:24,631
♪ Come on down to the river
of sight ♪
376
00:19:24,631 --> 00:19:28,001
♪ And you can really
understand ♪
377
00:19:28,001 --> 00:19:30,571
They can sing, as well,
but, like, Neil Young
378
00:19:30,571 --> 00:19:33,774
is a great singer, but he's not
just a great singer.
379
00:19:33,774 --> 00:19:36,309
There's some character
in his voice
380
00:19:36,309 --> 00:19:39,245
that is
quintessentially Neil Young.
381
00:19:39,245 --> 00:19:40,380
It couldn't be anybody else.
382
00:19:40,614 --> 00:19:42,415
Tom Petty,
it couldn't be anybody else.
383
00:19:42,482 --> 00:19:44,417
Bob Dylan,
it couldn't be anybody else.
384
00:19:44,417 --> 00:19:47,554
Etta James,
couldn't be anybody else.
385
00:19:47,554 --> 00:19:49,623
And then there's other people
who can sing.
386
00:19:49,623 --> 00:19:55,495
♪ I shot the morning in
the back with my red wings on ♪
387
00:19:55,495 --> 00:20:00,333
♪ Told the sun
he better go back down ♪
388
00:20:00,834 --> 00:20:04,437
♪ And if I can find a book
of matches ♪
389
00:20:04,437 --> 00:20:07,774
♪ I'm goin' to burn this hotel
down ♪
390
00:20:07,774 --> 00:20:09,510
ASHER:
So, it's not just being good.
391
00:20:09,510 --> 00:20:14,848
It's being extremely ‐‐
You know, it's being unique.
392
00:20:14,848 --> 00:20:16,683
♪ Brave captain ♪
393
00:20:16,683 --> 00:20:19,986
So, there might be other singers
who have greater range,
394
00:20:19,986 --> 00:20:24,791
or more skill or whatever,
but, to me,
395
00:20:24,791 --> 00:20:29,596
a distinctiveness and sounding
like no one but yourself.
396
00:20:29,596 --> 00:20:33,199
♪ Devil leaves
his porch light on ♪
397
00:20:33,199 --> 00:20:36,537
[ Sax solo ]
398
00:20:36,537 --> 00:20:37,938
CONNIE: It all has to do
with the whole package,
399
00:20:37,938 --> 00:20:40,073
and the heart,
and the communication,
400
00:20:40,073 --> 00:20:43,677
and the desire, and the calling,
the anointing.
401
00:20:43,677 --> 00:20:46,379
I think the main thing
that makes a great singer
402
00:20:46,379 --> 00:20:47,981
is the anointing on that singer,
403
00:20:47,981 --> 00:20:51,251
that that singer is called to do
exactly what they're doing.
404
00:20:51,251 --> 00:20:54,054
MAN:
Track 13, "Lady Soul."
405
00:20:54,054 --> 00:20:55,221
One, two.
406
00:20:55,221 --> 00:20:58,024
[ "Come Back Baby" plays ]
407
00:21:00,594 --> 00:21:03,396
♪ Oh, come back, baby ♪
408
00:21:03,396 --> 00:21:06,533
♪ Baby, please don't go ♪
409
00:21:06,533 --> 00:21:09,503
♪ Because the way I love you ♪
410
00:21:09,503 --> 00:21:12,472
♪ You'll never know ♪
411
00:21:12,472 --> 00:21:15,776
♪ Come back, baby ♪
412
00:21:15,776 --> 00:21:18,444
♪ Let's talk it over ♪
413
00:21:18,444 --> 00:21:21,515
♪ One more time ♪
414
00:21:21,515 --> 00:21:23,917
♪ Oh, yeah ♪
415
00:21:25,586 --> 00:21:28,154
CAVALIERE:
When Aretha was on Atlantic,
416
00:21:28,154 --> 00:21:29,856
I used to go to the sessions.
417
00:21:29,856 --> 00:21:32,092
I used to kind of stick my head
in there to hear this artist,
418
00:21:32,092 --> 00:21:33,259
you know, that was phenomenal.
419
00:21:33,259 --> 00:21:35,195
♪ R‐E‐S‐P‐E‐C‐T ♪
420
00:21:35,195 --> 00:21:37,097
♪ Find out what it means to me ♪
421
00:21:37,097 --> 00:21:38,498
♪ R‐E‐S‐P‐E‐C‐T ♪
422
00:21:38,498 --> 00:21:40,400
♪ Take care, TCB, oh ♪
423
00:21:40,400 --> 00:21:43,203
♪ Sock it to me, sock it to me,
sock it to me, sock it to me ♪
424
00:21:43,203 --> 00:21:44,638
‐♪ Yes, I need ♪
‐♪ Just a little bit ♪
425
00:21:45,105 --> 00:21:47,273
‐♪ A little respect ♪
‐♪ Just a little bit ♪
426
00:21:47,273 --> 00:21:49,776
And she'd get better
and better.
427
00:21:49,776 --> 00:21:52,178
Every time she sang the song,
you know, like,
428
00:21:52,178 --> 00:21:54,014
Jerry Wexler and those people
would say, "I think we have it."
429
00:21:54,014 --> 00:21:57,217
And she'd say,
"No. No. No. No. No.
430
00:21:57,217 --> 00:21:58,885
Let me try that again."
431
00:21:58,885 --> 00:22:00,787
And, you know, a lot of artists
think they can do it better.
432
00:22:00,787 --> 00:22:02,222
She could do it better.
433
00:22:02,222 --> 00:22:03,857
‐♪ Ooh! ♪
‐♪ Just a little bit ♪
434
00:22:04,124 --> 00:22:06,560
‐♪ A little respect ♪
‐♪ Just a little bit ♪
435
00:22:06,560 --> 00:22:08,494
BRIDGEWATER:
With singers, I tell them,
436
00:22:08,494 --> 00:22:13,233
"This isn't necessarily
something you can learn.
437
00:22:13,233 --> 00:22:17,638
You can learn to do it,
maybe you can develop a style,
438
00:22:17,638 --> 00:22:21,141
but will you be considered
a great singer?
439
00:22:21,141 --> 00:22:22,442
I don't know.
440
00:22:22,442 --> 00:22:24,444
[ "Georgia on My Mind" plays ]
441
00:22:24,444 --> 00:22:25,846
♪ Georgia ♪
442
00:22:25,846 --> 00:22:28,715
[ Applause ]
443
00:22:28,715 --> 00:22:31,718
♪ Oh, Georgia ♪
444
00:22:33,887 --> 00:22:38,158
♪ And the whole day through ♪
445
00:22:38,792 --> 00:22:42,796
♪ Yes, it's just
this old, sweet song ♪
446
00:22:42,796 --> 00:22:44,598
WATERS: The absolute
seminal moment in my life
447
00:22:44,598 --> 00:22:48,001
when I was sitting up
eating sausages and potatoes
448
00:22:48,001 --> 00:22:52,172
at 2:00 in the morning
and heard "Georgia on My Mind"
449
00:22:52,172 --> 00:22:55,609
for the first time,
the Ray Charles recording.
450
00:22:55,609 --> 00:22:59,980
♪ I said, Georgia, no, no ♪
451
00:23:02,015 --> 00:23:04,250
♪ Oh, Georgia ♪
452
00:23:04,250 --> 00:23:08,655
I absolutely remember being
blown completely away by it
453
00:23:08,655 --> 00:23:11,191
and thinking I'd never heard
anything quite so moving
454
00:23:11,191 --> 00:23:12,292
and beautiful in my life.
455
00:23:12,292 --> 00:23:17,664
♪ Comes as sweet and clear ♪
456
00:23:18,665 --> 00:23:25,606
♪ As moonlight
through the pines ♪
457
00:23:25,606 --> 00:23:27,407
And, I remember thinking,
"My God,
458
00:23:27,407 --> 00:23:30,577
if I could ever write a song
that would move anybody
459
00:23:30,577 --> 00:23:34,280
even a tenth as much
as I'm being moved
460
00:23:34,280 --> 00:23:39,085
by this experience now,
I would look no further."
461
00:23:40,020 --> 00:23:46,192
♪ Other eyes smile tenderly ♪
462
00:23:48,294 --> 00:23:53,399
♪ Still, in peaceful dreams,
I see ♪
463
00:23:53,399 --> 00:23:57,003
♪ Whoa, I know the road ♪
464
00:23:57,003 --> 00:24:00,574
BRIDGEWATER: Ray Charles
was an amazing storyteller.
465
00:24:00,574 --> 00:24:02,408
Lord have mercy.
466
00:24:02,408 --> 00:24:05,646
♪ Whoa, Georgia, no ♪
467
00:24:05,646 --> 00:24:08,849
He could take a song and, oh!
468
00:24:08,849 --> 00:24:12,018
♪ I'm calling my Georgia ♪
469
00:24:13,286 --> 00:24:18,725
♪ No, no, no peace I find ♪
470
00:24:18,725 --> 00:24:21,427
HARRY: Something has to resonate
with you and, you know,
471
00:24:21,427 --> 00:24:25,131
you sort of forget that,
you know, there's a technique
472
00:24:25,131 --> 00:24:26,567
of singing involved,
473
00:24:26,567 --> 00:24:29,670
and you just sort of
go with the emotion
474
00:24:29,670 --> 00:24:32,673
and really just live there.
475
00:24:35,609 --> 00:24:42,315
♪ Oh, no,
here comes that sun again ♪
476
00:24:42,315 --> 00:24:48,354
♪ That means another day
without you, my friend ♪
477
00:24:48,354 --> 00:24:56,362
♪ And it hurts me to look
into the mirror at myself ♪
478
00:24:56,362 --> 00:25:02,569
♪ And it hurts even more to have
to be with somebody else ♪
479
00:25:02,569 --> 00:25:06,006
♪ And it's so hard to do ♪
480
00:25:06,006 --> 00:25:09,375
♪ And so easy to say ♪
481
00:25:09,375 --> 00:25:15,582
♪ But sometimes, sometimes
you have to walk away ♪
482
00:25:15,582 --> 00:25:19,653
♪ Wa‐a‐lk away ♪
483
00:25:20,253 --> 00:25:23,023
My voice has no place
on "American Idol."
484
00:25:23,023 --> 00:25:24,825
I'd get laughed off, bombed off,
485
00:25:24,825 --> 00:25:26,593
and kicked off
of "American Idol,"
486
00:25:26,593 --> 00:25:28,194
or "The Voice,"
or any of those shows.
487
00:25:28,194 --> 00:25:30,330
I'd be booted out of there
so quick, man,
488
00:25:30,330 --> 00:25:31,532
it'd make your head spin.
489
00:25:31,532 --> 00:25:36,770
♪ Why do I worry about one? ♪
490
00:25:37,838 --> 00:25:40,440
I don't have that voice,
491
00:25:40,440 --> 00:25:43,810
but the voice I do have
serves what I've lived,
492
00:25:43,810 --> 00:25:47,080
what I feel,
and what I perceive...
493
00:25:48,849 --> 00:25:50,517
...I would say
as well as anybody,
494
00:25:50,517 --> 00:25:52,418
but I've heard covers of my own
songs that are better than mine.
495
00:25:52,418 --> 00:25:57,591
One of the truisms of most
of the singers I know,
496
00:25:57,591 --> 00:26:02,529
and great singers, too,
none of them like their voice.
497
00:26:02,529 --> 00:26:08,468
The only singer, I think,
likes his voice is Rod Stewart.
498
00:26:08,468 --> 00:26:10,236
Every other singer I know ‐‐
499
00:26:10,236 --> 00:26:12,138
Elton tries to disguise
his voice
500
00:26:12,138 --> 00:26:14,307
with that strange sound
he has on his mike.
501
00:26:14,307 --> 00:26:15,676
Phil Collins.
502
00:26:15,676 --> 00:26:17,110
No, none of them
like the sound of their voice.
503
00:26:17,110 --> 00:26:18,945
Horrible to hear yourself
singing.
504
00:26:18,945 --> 00:26:21,047
♪ I remember throwing punches
around ♪
505
00:26:21,047 --> 00:26:23,584
♪ And preaching from my chair ♪
506
00:26:23,584 --> 00:26:27,521
‐♪ Well, who are you? ♪
‐♪ Who are you? ♪
507
00:26:27,521 --> 00:26:29,155
♪ Who, who, who, who? ♪
508
00:26:29,155 --> 00:26:33,627
‐♪ I really want to know ♪
‐♪ Who are you? ♪
509
00:26:33,627 --> 00:26:35,261
♪ Who, who, who, who? ♪
510
00:26:35,261 --> 00:26:38,398
I always kind of listen like
that ‐‐ my fingers in my ears
511
00:26:38,398 --> 00:26:41,001
when I first hear it,
but after a while,
512
00:26:41,001 --> 00:26:44,037
I get used to it,
and I can bear it,
513
00:26:44,037 --> 00:26:48,208
and I can think through it
and feel through it, so...
514
00:26:48,208 --> 00:26:51,645
But when I first hear myself
sing a song, it's like, "Yuck!
515
00:26:51,645 --> 00:26:52,946
[ Chuckling ]
This is horrible."
516
00:26:52,946 --> 00:26:59,119
♪ Who‐o‐o‐o‐o‐o‐o are you? ♪
517
00:26:59,119 --> 00:27:01,387
Most singers will tell you
that headphones ‐‐
518
00:27:01,387 --> 00:27:04,057
The first thing that headphones
do is mess with your pitch,
519
00:27:04,057 --> 00:27:06,560
'cause you start singing
to those headphones.
520
00:27:06,560 --> 00:27:09,029
♪ My name is Luka ♪
521
00:27:09,696 --> 00:27:11,965
♪ I live on the second floor ♪
522
00:27:11,965 --> 00:27:13,199
SPITZ:
You're much more conscious
523
00:27:13,199 --> 00:27:15,101
of what you're doing
in the studio.
524
00:27:15,101 --> 00:27:18,905
You hear every sound.
It's very difficult to do.
525
00:27:18,905 --> 00:27:20,874
♪ ...before ♪
526
00:27:20,874 --> 00:27:24,444
♪ If you hear something
late at night ♪
527
00:27:24,444 --> 00:27:28,715
♪ Some kind of trouble,
some kind of fight ♪
528
00:27:28,715 --> 00:27:32,285
♪ Just don't ask me
what it was ♪
529
00:27:32,352 --> 00:27:36,256
♪ Just don't ask me
what it was ♪
530
00:27:36,322 --> 00:27:39,459
♪ Just don't ask me
what it was ♪
531
00:27:39,459 --> 00:27:43,229
My first experiences
with recording vocals
532
00:27:43,229 --> 00:27:45,365
were a nightmare.
They were a nightmare.
533
00:27:45,365 --> 00:27:47,033
♪ ...too loud ♪
534
00:27:47,033 --> 00:27:50,403
First of all,
my voice wasn't really trained,
535
00:27:50,403 --> 00:27:55,208
and I didn't really know how to
modulate it for the microphone.
536
00:27:55,208 --> 00:27:58,979
♪ They only hit until you cry ♪
537
00:27:58,979 --> 00:28:02,649
♪ After that,
you don't ask why ♪
538
00:28:02,649 --> 00:28:06,520
♪ You just don't argue anymore ♪
539
00:28:06,587 --> 00:28:10,591
♪ You just don't argue anymore ♪
540
00:28:10,657 --> 00:28:13,259
♪ You just don't argue anymore ♪
541
00:28:13,259 --> 00:28:16,296
There's, like, an ideal vocal
that you're aiming for,
542
00:28:16,296 --> 00:28:19,933
and you can get to it by doing
a bunch of different takes
543
00:28:19,933 --> 00:28:21,201
and then splicing them together.
544
00:28:21,201 --> 00:28:23,169
So, it's great to take advantage
of that.
545
00:28:23,169 --> 00:28:27,207
I think it's always a mistake to
try and do a perfect performance
546
00:28:27,207 --> 00:28:29,475
in the studio unless
you're that kind of singer.
547
00:28:29,475 --> 00:28:32,913
Some people do that. They just
go in, they do it once or twice,
548
00:28:32,913 --> 00:28:35,148
and they're happy with it.
549
00:28:35,148 --> 00:28:37,217
And it's got all the emotion,
and it hits all the notes,
550
00:28:37,217 --> 00:28:39,720
and it's in time,
and it's in tune,
551
00:28:39,720 --> 00:28:42,556
and I'd say that's pretty rare.
552
00:28:42,556 --> 00:28:45,692
There's that sweet spot
or the non‐sweet spot
553
00:28:45,692 --> 00:28:48,361
from realizing that recording
554
00:28:48,361 --> 00:28:51,998
is more than playing the song
through and recording it.
555
00:28:51,998 --> 00:28:54,535
That should only take
3 1/2 minutes, right?
556
00:28:54,535 --> 00:28:59,472
And then you move on to,
557
00:28:59,472 --> 00:29:02,008
"Oh, maybe some things
need to be altered,
558
00:29:02,008 --> 00:29:03,877
like, 'I could have
sung that better.'"
559
00:29:03,877 --> 00:29:09,816
And then you're on the slippery
slope to crazy perfectionist,
560
00:29:09,816 --> 00:29:11,451
taking three days
to get a snare sound.
561
00:29:14,354 --> 00:29:18,024
♪ When you found somebody new ♪
562
00:29:18,024 --> 00:29:22,395
♪ I thought I never would ♪
563
00:29:22,395 --> 00:29:24,097
♪ Forget you ♪
564
00:29:24,097 --> 00:29:28,468
♪ For I thought then
I never could ♪
565
00:29:28,468 --> 00:29:31,872
There is the art
of being in the studio
566
00:29:31,872 --> 00:29:34,140
and then the art
of being live onstage.
567
00:29:34,140 --> 00:29:36,877
And I don't think
everyone has both.
568
00:29:36,877 --> 00:29:40,714
♪ Until now,
I'm down to hurtin' ♪
569
00:29:40,714 --> 00:29:43,249
♪ Once a day ♪
570
00:29:43,249 --> 00:29:46,887
You can go in the studio
and really focus
571
00:29:46,887 --> 00:29:50,323
in this controlled setting,
in a sense.
572
00:29:50,323 --> 00:29:54,160
It is controlled acoustically.
It's controlled musically.
573
00:29:54,160 --> 00:29:56,362
Where if you get out
on the stage,
574
00:29:56,362 --> 00:29:58,899
your deal is to communicate
to the audience
575
00:29:58,899 --> 00:30:01,167
and make them happy,
make them feel good,
576
00:30:01,167 --> 00:30:02,803
make them cry, make them laugh,
577
00:30:02,803 --> 00:30:05,872
and start it out
and bring it to a climax
578
00:30:05,872 --> 00:30:07,173
and leave them
screaming and hollering
579
00:30:07,173 --> 00:30:08,208
and throwing babies in the air.
580
00:30:08,208 --> 00:30:10,043
♪ Oh‐oh‐oh, oh‐oh ♪
581
00:30:10,043 --> 00:30:12,613
♪ I'll get him hot,
show him what I ‐‐ ♪
582
00:30:12,613 --> 00:30:14,114
Come on.
583
00:30:14,114 --> 00:30:16,016
♪ Can't read my, can't read my ♪
584
00:30:16,016 --> 00:30:19,753
♪ No, he can't read
my poker face ♪
585
00:30:19,753 --> 00:30:22,055
♪ She's got me like nobody ♪
586
00:30:22,055 --> 00:30:24,090
♪ Can't read my, can't read my ♪
587
00:30:24,090 --> 00:30:28,028
♪ No, he can't read
my poker face ♪
588
00:30:28,028 --> 00:30:29,896
‐♪ She is gonna let nobody ♪
‐Now scream!
589
00:30:29,896 --> 00:30:33,166
♪ P‐P‐P‐Poker face,
p‐p‐poker face ♪
590
00:30:33,166 --> 00:30:36,670
Onstage, an audience
really gives you the excitement.
591
00:30:36,670 --> 00:30:39,372
It creates the spark
that sparks your music.
592
00:30:39,372 --> 00:30:42,442
♪ Kiss or hug you, 'cause
I'm bluffing with my muffin ♪
593
00:30:42,442 --> 00:30:44,477
♪ I'm not lying,
I'm just stunning
594
00:30:44,477 --> 00:30:46,079
♪ With my love glue gunning ♪
595
00:30:46,079 --> 00:30:48,481
There's none of that
in the studio.
596
00:30:48,481 --> 00:30:50,951
♪ Take your bank
before I pay you out ♪
597
00:30:50,951 --> 00:30:52,318
♪ I promise this, promise this ♪
598
00:30:52,318 --> 00:30:54,187
♪ Check this hand
'cause I'm marvelous ♪
599
00:30:54,187 --> 00:30:56,022
PETTY:
It's kind of like the difference
600
00:30:56,022 --> 00:30:58,659
between, say,
if you were an actor,
601
00:30:58,659 --> 00:31:01,562
between doing theater
and doing a movie.
602
00:31:01,562 --> 00:31:06,266
In the studio, everything
is really under the microscope.
603
00:31:06,266 --> 00:31:08,569
When it comes
to recording music,
604
00:31:08,569 --> 00:31:12,973
it's a very exposed place,
because you're really having
605
00:31:12,973 --> 00:31:15,709
to bring the good part
of your creative persona
606
00:31:15,709 --> 00:31:19,713
and also, like, the doubts and
the flaws and the frustrations.
607
00:31:19,713 --> 00:31:23,383
Great recordings
really weren't about technology
608
00:31:23,383 --> 00:31:25,519
so much as they were
about performance,
609
00:31:25,519 --> 00:31:27,988
and performance
in very small spaces.
610
00:31:27,988 --> 00:31:31,592
The Motown space was, what,
15x17 feet?
611
00:31:31,592 --> 00:31:33,226
Musicians were on top
of each other.
612
00:31:33,226 --> 00:31:36,396
I want to play Marvin Gaye
and Tammi Terrell's,
613
00:31:36,396 --> 00:31:39,933
"Ain't No Mountain High Enough"
from early '60s.
614
00:31:39,933 --> 00:31:41,935
♪ If you need me, call me ♪
615
00:31:41,935 --> 00:31:45,739
♪ No matter where you are,
no matter how far ♪
616
00:31:45,739 --> 00:31:49,309
‐♪ Don't worry, baby ♪
‐♪ Just call my name ♪
617
00:31:49,309 --> 00:31:51,277
♪ I'll be there in a hurry ♪
618
00:31:51,277 --> 00:31:53,046
♪ You don't have to worry ♪
619
00:31:53,046 --> 00:31:58,051
♪ Oh, baby, there ain't
no mountain high enough ♪
620
00:31:58,051 --> 00:32:01,555
♪ Ain't no valley low enough ♪
621
00:32:01,555 --> 00:32:04,991
♪ Ain't no river wide enough ♪
622
00:32:04,991 --> 00:32:07,928
♪ To keep me
from getting to you, babe ♪
623
00:32:07,928 --> 00:32:09,930
The instruments
are fitted together
624
00:32:09,930 --> 00:32:11,965
to dovetail with the vocals.
625
00:32:11,965 --> 00:32:13,567
This is impossible to do
626
00:32:13,567 --> 00:32:16,837
when you're taking production
a track at a time.
627
00:32:16,837 --> 00:32:18,104
It was a vibe.
628
00:32:18,104 --> 00:32:20,741
It was less about
the bells and whistles
629
00:32:20,741 --> 00:32:24,545
and more about
creating and capturing a vibe.
630
00:32:24,545 --> 00:32:29,816
And, to me, you can't beat that,
and it's hard to find it today,
631
00:32:29,816 --> 00:32:32,919
because everybody's doing
productions, you know?
632
00:32:32,919 --> 00:32:33,954
Wrr!
633
00:32:33,954 --> 00:32:36,289
♪ Soft and warm ♪
634
00:32:36,289 --> 00:32:39,259
♪ A quiet storm ♪
635
00:32:39,259 --> 00:32:45,098
♪ Quiet as when flowers talk
at break of dawn ♪
636
00:32:45,098 --> 00:32:47,267
Today's recording world,
people who play and sing
637
00:32:47,267 --> 00:32:49,202
on the same records
don't even see each other.
638
00:32:49,202 --> 00:32:50,436
One guy's there on Wednesday,
639
00:32:50,436 --> 00:32:51,872
the other guy's there
on Tuesday,
640
00:32:51,872 --> 00:32:53,674
and somebody's in London,
somebody's in New York,
641
00:32:53,674 --> 00:32:57,343
somebody's there at 5:00,
somebody's there at 10:00.
642
00:32:57,343 --> 00:33:01,915
But to get in a studio
with a bunch of great musicians
643
00:33:01,915 --> 00:33:04,818
and sing
while they're playing...
644
00:33:05,752 --> 00:33:07,087
... and they're feeding off
of each other,
645
00:33:07,087 --> 00:33:08,354
and you're feeding off of them,
646
00:33:08,354 --> 00:33:10,757
it's like doing a concert
in the studio.
647
00:33:10,757 --> 00:33:12,092
♪ Oh ♪
648
00:33:12,092 --> 00:33:17,964
♪ You shortcircuit
all my nerves ♪
649
00:33:17,964 --> 00:33:21,968
♪ Promising electric things ♪
650
00:33:21,968 --> 00:33:28,809
♪ You touch me, and suddenly
there's rainbow rings ♪
651
00:33:28,809 --> 00:33:31,678
♪ Quiet storm ♪
652
00:33:31,678 --> 00:33:34,347
♪ Blowin' ♪
653
00:33:34,347 --> 00:33:36,382
Everything is fragmented.
654
00:33:36,382 --> 00:33:38,451
You're singing,
but you're not getting
655
00:33:38,451 --> 00:33:40,621
a whole take in one take,
you know?
656
00:33:40,621 --> 00:33:44,791
You're maybe singing 10 takes,
and you're piecing it together
657
00:33:44,791 --> 00:33:47,260
what you like,
just like you would a film.
658
00:33:47,260 --> 00:33:50,597
The vocal, yes,
is the centerpiece of the song,
659
00:33:50,597 --> 00:33:53,600
but you still have to think
of it as another instrument.
660
00:33:53,600 --> 00:33:56,570
[ "Stop Draggin'
My Heart Around" plays ]
661
00:33:57,604 --> 00:34:02,676
♪ Baby, you'll come knocking
on my front door ♪
662
00:34:02,676 --> 00:34:07,180
♪ Same old line
you used to use before ♪
663
00:34:07,180 --> 00:34:11,752
♪ I said, "Yeah, well,
what am I supposed to do?" ♪
664
00:34:11,752 --> 00:34:16,790
♪ I didn't know
what I was getting into ♪
665
00:34:16,790 --> 00:34:21,394
♪ So, you've had
a little trouble in town ♪
666
00:34:21,394 --> 00:34:25,899
♪ Now you're keeping
some demons down ♪
667
00:34:25,899 --> 00:34:28,034
♪ Stop draggin' my ♪
668
00:34:28,101 --> 00:34:30,370
♪ Stop draggin' my ♪
669
00:34:30,370 --> 00:34:34,575
♪ Stop draggin'
my heart around ♪
670
00:34:34,575 --> 00:34:37,544
In my opinion,
when you make a record,
671
00:34:37,544 --> 00:34:39,846
all things bow to the vocal.
672
00:34:40,581 --> 00:34:44,017
For me, the records that I like,
the records I care about.
673
00:34:44,017 --> 00:34:48,522
♪ It's hard to think about
what you've wanted ♪
674
00:34:48,522 --> 00:34:53,426
♪ It's hard to think
about what you've lost ♪
675
00:34:53,426 --> 00:34:55,762
So everything has to be
based around that vocal.
676
00:34:55,762 --> 00:34:59,099
That's why I don't understand
what everyone does today,
677
00:34:59,099 --> 00:35:01,367
which is writing songs
over tracks.
678
00:35:01,367 --> 00:35:06,172
♪ I know you really want
to tell me goodbye ♪
679
00:35:06,172 --> 00:35:08,241
I don't understand
how they make records now
680
00:35:08,241 --> 00:35:09,776
without the vocal
being cut live.
681
00:35:09,776 --> 00:35:11,945
When I made records,
I would always insist
682
00:35:11,945 --> 00:35:13,413
on the person sing live.
683
00:35:13,413 --> 00:35:15,248
Stevie Nicks sang every one
of her vocals live.
684
00:35:15,248 --> 00:35:16,650
We'd go back and fix them
a little bit.
685
00:35:16,650 --> 00:35:18,284
But I don't want to make
a record just listening
686
00:35:18,284 --> 00:35:19,720
to a drum, a bass, and a guitar.
687
00:35:19,720 --> 00:35:23,624
♪ So, you've had
a little trouble in town ♪
688
00:35:23,624 --> 00:35:27,594
♪ Now you're keeping
some demons down ♪
689
00:35:27,594 --> 00:35:30,030
You got his mike on yet, Shelly?
690
00:35:30,030 --> 00:35:32,432
Okay, ready to go?
Okay.
691
00:35:32,432 --> 00:35:35,001
I want to hear
what it's gonna be.
692
00:35:35,001 --> 00:35:37,571
I want to hear
the excitement of the vocal.
693
00:35:39,105 --> 00:35:41,842
♪ Dadaio, deio ♪
694
00:35:41,842 --> 00:35:44,578
♪ Dadaio, deio ♪
695
00:35:44,578 --> 00:35:46,412
Okay.
So, that's loop number one.
696
00:35:46,412 --> 00:35:48,481
♪ Dadaio, deio ♪
697
00:35:48,481 --> 00:35:51,284
‐♪ Dadeio, deio, oh‐oh ♪
‐♪ Dadaio, deio ♪
698
00:35:51,284 --> 00:35:53,019
♪ Dadaio, deio ♪
699
00:35:53,019 --> 00:35:55,556
‐♪ Dadeio, deio, oh‐oh ♪
‐♪ Dadaio, deio ♪
700
00:35:55,556 --> 00:35:57,758
♪ Dadaio, deio ♪
701
00:35:57,758 --> 00:36:00,527
‐♪ Dadeio, de‐e‐e‐e‐e‐h ♪
‐♪ Dadaio, deio ♪
702
00:36:00,527 --> 00:36:02,596
♪ Dadaio, deio ♪
703
00:36:02,596 --> 00:36:05,398
‐♪ Dadeio, de‐e‐e‐e‐e‐h ♪
‐♪ Dadaio, deio ♪
704
00:36:05,398 --> 00:36:07,433
♪ Dadaio, deio ♪
705
00:36:07,433 --> 00:36:09,903
Okay. So, I got those.
And then I could do something.
706
00:36:09,903 --> 00:36:12,005
So, imagine this as, like,
a drum beat.
707
00:36:12,005 --> 00:36:14,708
‐♪ Dadeio, de‐e‐e‐e‐e‐h ♪
‐♪ Dadaio, deio ♪
708
00:36:14,708 --> 00:36:16,943
[ Beatboxing ]
709
00:36:16,943 --> 00:36:19,345
‐♪ Dadeio, deio, oh‐oh ♪
‐♪ Dadaio, deio ♪
710
00:36:19,345 --> 00:36:21,347
♪ Dadaio, deio ♪
711
00:36:21,347 --> 00:36:23,550
‐♪ Dadeio, de‐e‐e‐e‐e‐h ♪
‐♪ Dadaio, deio ♪
712
00:36:23,550 --> 00:36:26,086
And then, I could add
some kind of bass line.
713
00:36:26,086 --> 00:36:28,221
♪ Dadaio, deio ♪
714
00:36:28,221 --> 00:36:30,991
‐♪ Do, do, do, do, do‐do ♪
‐♪ Dadaio, deio ♪
715
00:36:30,991 --> 00:36:33,259
‐♪ Do, do, do, do, do‐do ♪
‐♪ Dadaio, deio ♪
716
00:36:33,259 --> 00:36:35,629
‐♪ Do, do, do, do, do‐do ♪
‐♪ Dadaio, deio ♪
717
00:36:35,629 --> 00:36:37,964
‐♪ Do, do, do, do, do‐do ♪
‐♪ Dadaio, deio ♪
718
00:36:37,964 --> 00:36:40,266
‐♪ Do, do, do, do, do‐do ♪
‐♪ Dadaio, deio ♪
719
00:36:40,266 --> 00:36:43,704
‐♪ Do, do, do, do, do‐do ♪
‐♪ Dadaio, deio ♪
720
00:36:43,704 --> 00:36:45,171
Then...
721
00:36:45,171 --> 00:36:47,340
‐♪ Dadeio, deio, oh‐oh ♪
‐♪ Dadaio, deio ♪
722
00:36:47,340 --> 00:36:49,776
‐♪ Do, do, do, do, do‐do ♪
‐♪ Dadaio, deio ♪
723
00:36:49,776 --> 00:36:51,044
‐♪ Dadeio, de‐e‐e‐e‐e‐h ♪
‐♪ Dadaio, deio ♪
724
00:36:51,044 --> 00:36:52,713
Sing something over the top.
725
00:36:52,713 --> 00:36:54,748
‐♪ Ah, lo, lo, oh, oh ♪
‐♪ Dadaio, deio ♪
726
00:36:54,748 --> 00:36:57,117
‐♪ Dadeio, deio, oh‐oh ♪
‐♪ Dadaio, deio ♪
727
00:36:57,117 --> 00:36:58,919
‐♪ And, you know, sometimes ♪
‐♪ Dadaio, deio ♪
728
00:36:58,919 --> 00:37:01,021
‐♪ I write a song ♪
‐♪ Dadaio, deio ♪
729
00:37:01,021 --> 00:37:03,289
‐♪ I'm playing around ♪
‐♪ Dadeio, de‐e‐e‐e‐e‐h ♪
730
00:37:03,289 --> 00:37:05,425
‐♪ In the studio for hours ♪
‐♪ Dadaio, deio ♪
731
00:37:05,425 --> 00:37:08,128
‐♪ And I just sing some stuff ♪
‐♪ Dadeio, de‐e‐e‐e‐e‐h ♪
732
00:37:08,128 --> 00:37:10,263
‐♪ That comes into my head ♪
‐♪ Dadaio, deio ♪
733
00:37:10,263 --> 00:37:12,699
‐♪ And then I'll record it all ♪
‐♪ Dadeio, deio, oh‐oh ♪
734
00:37:12,699 --> 00:37:15,401
♪ And maybe then
I'll listen back ♪
735
00:37:15,401 --> 00:37:17,538
‐♪ And find some nice bits ♪
‐♪ Dadaio, deio ♪
736
00:37:17,538 --> 00:37:20,574
‐♪ And make a song out of it ♪
‐♪ Dadeio, de‐e‐e‐e‐e‐h ♪
737
00:37:20,574 --> 00:37:22,676
♪ Dadaio, deio ♪
738
00:37:22,743 --> 00:37:24,578
♪ Dadaio, deio ♪
739
00:37:24,578 --> 00:37:27,781
And then, I can go back
and practice some other bits.
740
00:37:27,781 --> 00:37:29,249
Like...
741
00:37:29,249 --> 00:37:31,284
‐go back to the first loop...
‐♪ Dadaio, deio ♪
742
00:37:31,284 --> 00:37:34,688
‐... which is how it all began.
‐♪ Dadaio, deio ♪
743
00:37:34,688 --> 00:37:36,523
‐[ Vocalizing ]
‐♪ Dadaio, deio ♪
744
00:37:36,523 --> 00:37:39,159
‐♪ Do, do, do, do, do‐do ♪
‐♪ Dadaio, deio ♪
745
00:37:39,159 --> 00:37:41,494
‐♪ Dadeio, de‐e‐e‐e‐e‐h ♪
‐♪ Dadaio, deio ♪
746
00:37:41,494 --> 00:37:44,130
‐♪ Do, do, do, do, do‐do ♪
‐♪ Dadaio, deio ♪
747
00:37:44,130 --> 00:37:46,432
‐♪ Dadeio, deio, oh‐oh ♪
‐♪ Dadaio, deio ♪
748
00:37:46,432 --> 00:37:48,034
‐♪ Do, do, do, do, do‐do ♪
‐♪ Dadaio, deio ♪
749
00:37:48,034 --> 00:37:49,970
‐♪ Whoa ♪
‐♪ Dadaio, deio ♪
750
00:37:49,970 --> 00:37:52,005
‐♪ La, de, da, de, ay ♪
‐♪ Dadeio, de‐e‐e‐e‐e‐h ♪
751
00:37:52,005 --> 00:37:53,640
‐♪ Do, do, do, do, do‐do ♪
‐♪ Dadaio, deio ♪
752
00:37:53,640 --> 00:37:55,842
‐[ Beatboxing ]
‐♪ Dadaio, deio ♪
753
00:37:55,842 --> 00:37:58,211
‐♪ Dadeio, de‐e‐e‐e‐e‐h ♪
‐♪ Dadaio, deio ♪
754
00:37:58,211 --> 00:38:00,714
‐♪ Do, do, do, do, do‐do ♪
‐♪ Dadaio, deio ♪
755
00:38:00,714 --> 00:38:02,949
‐♪ Dadeio, deio, oh‐oh ♪
‐♪ Dadaio, deio ♪
756
00:38:02,949 --> 00:38:05,251
‐♪ Do, do, do, do, do‐do ♪
‐♪ Dadaio, deio ♪
757
00:38:05,251 --> 00:38:07,588
‐♪ Dadeio, de‐e‐e‐e‐e‐h ♪
‐♪ Dadaio, deio ♪
758
00:38:07,588 --> 00:38:10,023
‐♪ Do, do, do, do, do‐do ♪
‐♪ Dadaio, deio ♪
759
00:38:10,023 --> 00:38:12,258
‐♪ Dadeio, deio, oh‐oh ♪
‐♪ Dadaio, deio ♪
760
00:38:12,258 --> 00:38:14,761
‐♪ Do, do, do, do, do‐do ♪
‐♪ Dadaio, deio ♪
761
00:38:14,761 --> 00:38:17,130
‐And there we go.
‐♪ Dadeio, deio, oh‐oh ♪
762
00:38:17,130 --> 00:38:19,032
‐♪ Do, do, do, do, do‐do ♪
‐♪ Dadaio, deio ♪
763
00:38:19,032 --> 00:38:21,802
♪ Hey, oh ♪
764
00:38:21,802 --> 00:38:23,169
[ Chuckles ]
765
00:38:23,169 --> 00:38:25,872
Your voice is so much
of what identifies who you are,
766
00:38:25,872 --> 00:38:28,842
your character
and how you're recognized.
767
00:38:28,842 --> 00:38:32,078
[ Synthesized ]
♪ Where are we? ♪
768
00:38:33,346 --> 00:38:40,186
♪ What the hell is going on? ♪
769
00:38:40,186 --> 00:38:42,989
And, I think, as a performer,
you're already inhabiting
770
00:38:42,989 --> 00:38:46,159
sort of a different person,
which could be the real you,
771
00:38:46,159 --> 00:38:49,062
as a lot of performers say,
or it could be pure escapism.
772
00:38:49,062 --> 00:38:50,430
♪ Begun ♪
773
00:38:53,567 --> 00:38:57,037
Tonight, we present
a new miracle of electricity,
774
00:38:57,037 --> 00:38:58,204
the Sonovox.
775
00:38:58,204 --> 00:39:00,641
Harry Babbitt,
using special Sonovox units,
776
00:39:00,641 --> 00:39:04,144
gives diction to the tones
of the instruments as they play.
777
00:39:04,144 --> 00:39:07,480
Harry forms the words,
but the instruments sing them.
778
00:39:07,480 --> 00:39:08,982
Sing it, saxes!
779
00:39:08,982 --> 00:39:12,218
[ Through a Sonovox ]
♪ I'd know you anywhere ♪
780
00:39:12,218 --> 00:39:15,188
♪ I know that grin ♪
781
00:39:15,188 --> 00:39:16,990
TOMPKINS: And we've always
had this attraction
782
00:39:16,990 --> 00:39:20,260
from an early age
at altering our voices.
783
00:39:20,260 --> 00:39:22,328
I think that happens with,
you know, hookin' up to
784
00:39:22,328 --> 00:39:24,998
the clown balloon dispenser
at a birthday party,
785
00:39:24,998 --> 00:39:27,768
and here's a way to explore
different characters,
786
00:39:27,768 --> 00:39:30,403
and what's more human than
wanting to be something else?
787
00:39:30,403 --> 00:39:32,873
[ Synthesized ]
♪ More bounce ♪
788
00:39:32,873 --> 00:39:33,907
Whoo!
789
00:39:35,275 --> 00:39:37,911
♪ More bounce ♪
790
00:39:37,911 --> 00:39:41,414
"More Bounce to the Ounce,"
I mean, when that dropped,
791
00:39:41,414 --> 00:39:46,820
drivin' down Crenshaw Boulevard
in L. A., playin' Roger & Zapp,
792
00:39:46,820 --> 00:39:48,589
you're sure to get
a girl's attention.
793
00:39:48,589 --> 00:39:51,457
Marvin Gaye or Roger Troutman ‐‐
Can't miss.
794
00:39:51,457 --> 00:39:54,160
♪ More bounce to the ounce ♪
795
00:39:54,160 --> 00:39:57,463
Roger Troutman and Zapp,
to get that sound,
796
00:39:57,463 --> 00:40:01,167
you had to take a tube, hook it
up to an electrical charge,
797
00:40:01,167 --> 00:40:03,469
and it would send an electrical
current down your throat
798
00:40:03,469 --> 00:40:05,038
that would then
go through a box,
799
00:40:05,038 --> 00:40:07,040
and go through whatever
instrument you were playing...
800
00:40:07,040 --> 00:40:08,074
Come on!
801
00:40:09,009 --> 00:40:10,611
[ Synthesized ]
♪ Yeah, yeah ♪
802
00:40:10,611 --> 00:40:11,978
...your voice,
through the electrical charge
803
00:40:11,978 --> 00:40:14,114
and current that was going
into your throat,
804
00:40:14,114 --> 00:40:16,416
was coloring whatever instrument
you were playing.
805
00:40:16,917 --> 00:40:19,385
♪ Say, "Yeah, yeah, yeah!" ♪
806
00:40:19,385 --> 00:40:22,689
After an hour of recording
with that thing, it hurt.
807
00:40:22,689 --> 00:40:24,257
So now they have
what's called AutoTune,
808
00:40:24,257 --> 00:40:26,026
and it's just the processed
version of that sound,
809
00:40:26,026 --> 00:40:29,896
which sounds exactly like it,
and is equally as cool,
810
00:40:29,896 --> 00:40:32,232
just without the suffering
and torture.
811
00:40:32,232 --> 00:40:33,800
AutoTune is a software.
812
00:40:33,800 --> 00:40:36,737
It's basically an algorithm
that is designed to take
813
00:40:36,737 --> 00:40:39,673
a singer's vocal
pitch imperfections
814
00:40:39,673 --> 00:40:41,474
and then put them on pitch.
815
00:40:41,474 --> 00:40:44,377
And the way
we recognize AutoTune
816
00:40:44,377 --> 00:40:46,479
is not recognizing it at all.
817
00:40:46,479 --> 00:40:50,050
Uh, hey, Dad.
I need to talk to you.
818
00:40:50,050 --> 00:40:51,585
The chick that wrote
the theme song
819
00:40:51,585 --> 00:40:53,820
to the new "Hunger Games" movie
is you?
820
00:40:53,820 --> 00:40:55,488
‐Yeah.
‐Wha‐‐ Wait.
821
00:40:55,488 --> 00:40:56,857
Lorde sounds like a girl.
822
00:40:56,857 --> 00:40:59,826
AutoTune.
You wanna see how I do it?
823
00:40:59,826 --> 00:41:01,394
[ Computer chimes ]
824
00:41:01,394 --> 00:41:02,629
I use this program to import
825
00:41:02,629 --> 00:41:04,364
the recordings I make
on my phone.
826
00:41:04,364 --> 00:41:08,501
♪ Sparklin' thoughts give me
the hope to go on ♪
827
00:41:08,501 --> 00:41:09,803
[ Farts ]
828
00:41:09,803 --> 00:41:12,072
Dad, Lorde's music
is actually really good.
829
00:41:12,072 --> 00:41:15,475
Thanks, but it gets even better
when I add the drum loops.
830
00:41:15,475 --> 00:41:17,043
[ Drum kit playing ]
831
00:41:17,043 --> 00:41:18,912
♪ Yeah, yeah, feelin' good
on a Wednesday ♪
832
00:41:18,912 --> 00:41:22,282
Then, with the computer, I can
actually quantize everything,
833
00:41:22,282 --> 00:41:23,950
backup instruments,
834
00:41:23,950 --> 00:41:25,752
and then finally,
I use the AutoTune.
835
00:41:25,752 --> 00:41:28,622
♪ Sparkling thoughts,
feelin' good on a Wednesday ♪
836
00:41:28,622 --> 00:41:34,127
♪ Givin' me the hope, givin',
givin' me the hope to go on ♪
837
00:41:34,127 --> 00:41:37,463
♪ What I need
is a little bit of shelter ♪
838
00:41:37,463 --> 00:41:38,732
Stan?
839
00:41:38,732 --> 00:41:41,835
Would you AutoTune Patti Smith?
No.
840
00:41:41,902 --> 00:41:43,804
Carole King?
No.
841
00:41:43,804 --> 00:41:45,806
Janis Joplin?
Oh, my God, she ‐‐
842
00:41:45,806 --> 00:41:48,274
if they put AutoTune
on Janis Joplin,
843
00:41:48,274 --> 00:41:50,276
she would sound like
that "Believe."
844
00:41:50,276 --> 00:41:55,181
♪ Oh, do you believe in life
after love? ♪
845
00:41:56,983 --> 00:41:59,085
And you know
that's where that came from.
846
00:41:59,085 --> 00:42:03,056
That sound came from,
and I love Cher,
847
00:42:03,056 --> 00:42:05,826
but they must have accidentally
848
00:42:05,826 --> 00:42:07,894
left it on
while she was singing.
849
00:42:07,894 --> 00:42:09,395
I know this is what happened.
850
00:42:09,395 --> 00:42:12,498
And then, it went [Vocalizing]
and they were, like,
851
00:42:12,498 --> 00:42:14,267
"What is that?
That's cool."
852
00:42:14,267 --> 00:42:15,869
♪ Inside me say ♪
853
00:42:15,869 --> 00:42:19,205
♪ "I really don't think
you're strong enough, no" ♪
854
00:42:19,205 --> 00:42:21,007
I bought that Cher record,
"Believe." I loved it.
855
00:42:21,007 --> 00:42:22,242
I thought it was brilliant.
856
00:42:22,242 --> 00:42:24,310
And what I'm told
is that they put ‐‐
857
00:42:24,310 --> 00:42:28,749
The engineer put that much of it
on there kind of as a goof,
858
00:42:28,749 --> 00:42:31,552
you know,
and Cher took home a rough mix,
859
00:42:31,552 --> 00:42:34,354
and they were planning
to moderate
860
00:42:34,354 --> 00:42:35,989
that whole thing massively.
861
00:42:35,989 --> 00:42:39,392
And she went, "No. No.
Keep it all on. It's fantastic."
862
00:42:39,392 --> 00:42:43,564
But, whatever it was,
they left it on there,
863
00:42:43,564 --> 00:42:44,931
and, of course,
it became a template
864
00:42:44,931 --> 00:42:48,168
for many vocals to come.
865
00:42:48,168 --> 00:42:51,237
What happens a generation
or a half a generation later
866
00:42:51,237 --> 00:42:54,440
is that R&B artists
and hip‐hop artists,
867
00:42:54,440 --> 00:42:55,809
they discover they actually
868
00:42:55,809 --> 00:42:57,410
really like the sound
of AutoTune.
869
00:42:57,410 --> 00:43:00,847
They like the sound of this kind
of robotic otherworldliness,
870
00:43:00,847 --> 00:43:03,817
something that sounds
completely unnatural.
871
00:43:04,317 --> 00:43:06,219
One of the first people to do it
in a big way
872
00:43:06,219 --> 00:43:08,522
that surprised a lot of people
was actually Kanye West.
873
00:43:08,522 --> 00:43:12,458
[ AutoTuned ] ♪ I'm not loving
you, way I wanted to ♪
874
00:43:12,458 --> 00:43:16,830
♪ What I had to do,
had to run from you ♪
875
00:43:16,830 --> 00:43:19,933
Previous to this,
Kanye is best known
876
00:43:19,933 --> 00:43:23,036
for really soulful samples
and funk and jazz samples.
877
00:43:23,036 --> 00:43:25,972
And then he puts out this album
called "808s & Heartbreak,"
878
00:43:25,972 --> 00:43:29,576
which is all cold, chilly,
metallic,
879
00:43:29,576 --> 00:43:30,877
and he's using AutoTune.
880
00:43:30,877 --> 00:43:32,779
♪ Till it's over, love ♪
881
00:43:32,779 --> 00:43:34,447
♪ Till we lose control ♪
882
00:43:34,447 --> 00:43:36,950
[ Distorted ]
♪ System overload ♪
883
00:43:36,950 --> 00:43:39,419
And a lot of his fans
just didn't understand.
884
00:43:39,419 --> 00:43:41,187
"Why are you messing
with AutoTune in a way
885
00:43:41,187 --> 00:43:43,356
that just sounds
completely inconsistent
886
00:43:43,356 --> 00:43:45,859
with sort of what you've put out
musically before?"
887
00:43:45,859 --> 00:43:48,995
But, I think for Kanye,
I mean, this is partly him
888
00:43:48,995 --> 00:43:50,664
wanting to experiment
with something new,
889
00:43:50,664 --> 00:43:52,198
with trying a new technique.
890
00:43:52,198 --> 00:43:54,467
"808s & Heartbreak"
also comes out after his mother
891
00:43:54,467 --> 00:43:59,472
has passed away, after he's been
through a major breakup.
892
00:43:59,472 --> 00:44:00,941
♪ Your love lockdown ♪
893
00:44:00,941 --> 00:44:03,076
♪ Keeping your love lockdown ♪
894
00:44:03,076 --> 00:44:07,147
And he creates this album
whose mechanical sheen of it
895
00:44:07,147 --> 00:44:09,482
is very much, I think,
reflective, one could say,
896
00:44:09,482 --> 00:44:12,886
of perhaps his emotional state
when he recorded it.
897
00:44:12,886 --> 00:44:15,522
♪ I'm not loving you,
way I wanted to ♪
898
00:44:15,522 --> 00:44:19,059
If you are an artist,
899
00:44:19,059 --> 00:44:22,696
and you take a bit
of technology,
900
00:44:22,696 --> 00:44:25,632
and you're gonna use that to
sort of distinguish your sound,
901
00:44:25,632 --> 00:44:29,435
some people are gonna do that
and make it sound really cool.
902
00:44:29,435 --> 00:44:32,873
Other people
are gonna make you turn off
903
00:44:32,873 --> 00:44:34,541
whatever it is
you're listening to.
904
00:44:34,541 --> 00:44:36,543
♪ In the danger zone ♪
905
00:44:36,543 --> 00:44:39,880
I don't care what people do
if it works. I don't care.
906
00:44:39,880 --> 00:44:41,948
I don't care how that magician
did that magic.
907
00:44:41,948 --> 00:44:43,316
I don't care.
Fine by me.
908
00:44:43,316 --> 00:44:45,185
I'm really not a purist
in that respect.
909
00:44:45,185 --> 00:44:46,720
‐♪ I ain't even know it ♪
‐♪ Even know it ♪
910
00:44:46,720 --> 00:44:48,088
‐♪ Even know it ♪
‐♪ Know it ♪
911
00:44:48,088 --> 00:44:49,523
♪ Till they call you
to the stage ♪
912
00:44:49,523 --> 00:44:51,758
You taking advantage
of what the technology is.
913
00:44:51,758 --> 00:44:54,661
Like, what makes the song
sound its best?
914
00:44:54,661 --> 00:44:56,963
♪ Booty going up, down ♪
915
00:44:56,963 --> 00:44:59,299
I think it's kind of future‐y
and...
916
00:44:59,299 --> 00:45:01,501
I don't know. I think
it's an interesting effect.
917
00:45:01,501 --> 00:45:04,705
♪ I can do this all day
like it ain't nuttin' ♪
918
00:45:04,705 --> 00:45:06,773
I don't listen to
a lot of records
919
00:45:06,773 --> 00:45:09,375
that have AutoTune vocals
on them.
920
00:45:09,375 --> 00:45:11,211
You know what I mean?
Like, I'm sure I do.
921
00:45:11,211 --> 00:45:13,880
I hear them, but it's not like
I'm putting my money down to be,
922
00:45:13,880 --> 00:45:15,682
like, "That's my shit."
923
00:45:15,682 --> 00:45:18,051
There's something great about
not fixing stuff, you know?
924
00:45:18,051 --> 00:45:21,087
I leave funky notes in
all the time and slide notes
925
00:45:21,087 --> 00:45:24,124
that aren't quite up to it,
and I'll tune it back up,
926
00:45:24,124 --> 00:45:26,660
and it just loses a lot
of the edge to it, you know?
927
00:45:26,660 --> 00:45:29,162
It's sort of like going around
a corner on two wheels.
928
00:45:29,162 --> 00:45:30,597
Let's hear it.
Come on.
929
00:45:30,597 --> 00:45:34,500
So, I'm not a big anti‐analog
or anti‐digital
930
00:45:34,500 --> 00:45:39,105
or antianything, because I'm a
groove and a performance person.
931
00:45:39,105 --> 00:45:41,307
I would always say to Madonna,
932
00:45:41,307 --> 00:45:44,144
"Give me as much emotion
as you can,
933
00:45:44,144 --> 00:45:46,680
because I don't have any button
that I can push
934
00:45:46,680 --> 00:45:48,448
that can put that in," right?
935
00:45:48,448 --> 00:45:50,584
I can fix your pitch.
I can fix your timing.
936
00:45:50,584 --> 00:45:51,885
I can fix all sorts of stuff.
937
00:45:51,885 --> 00:45:54,354
I can't fix emotion.
Put that in there,
938
00:45:54,354 --> 00:45:56,857
and I'll figure the rest
of the stuff out if I have to.
939
00:45:56,857 --> 00:45:58,324
Now that AutoTune
has become a sound,
940
00:45:58,324 --> 00:46:01,194
if you want that as part
of your sound, by all means.
941
00:46:01,194 --> 00:46:04,397
It's a sound, and it works.
942
00:46:04,397 --> 00:46:07,133
So, if you want that
as your sound, go,
943
00:46:07,133 --> 00:46:11,838
but if you want your voice
as your sound, no effects...
944
00:46:13,106 --> 00:46:14,541
... start workin' on scales.
945
00:46:19,880 --> 00:46:23,116
[ Vocalizing ]
946
00:46:28,522 --> 00:46:30,891
PERRY: There's not a lot
of Christinas.
947
00:46:31,792 --> 00:46:33,994
That woman can sing.
948
00:46:33,994 --> 00:46:36,763
♪ I could feel it
from the start, oh! ♪
949
00:46:36,763 --> 00:46:39,533
And she can change her voice
950
00:46:39,533 --> 00:46:42,603
and do so many wonderful things
with it.
951
00:46:42,603 --> 00:46:43,904
♪ ... my eye ♪
952
00:46:45,038 --> 00:46:48,842
♪ Something moved me
deep inside ♪
953
00:46:48,842 --> 00:46:52,178
Her problem
is her perfectionism.
954
00:46:52,178 --> 00:46:53,814
That's where she gets
into trouble,
955
00:46:53,814 --> 00:46:56,249
when she tries to perfect
the vocal.
956
00:46:56,249 --> 00:46:59,853
♪ My brother,
my sister, and my friend ♪
957
00:46:59,853 --> 00:47:02,956
Troubled waters there, but
when Christina just sings...
958
00:47:02,956 --> 00:47:08,862
♪ And every time I see you,
everything starts making sense ♪
959
00:47:08,862 --> 00:47:11,464
I'm crazy, uber‐perfectionist.
960
00:47:11,464 --> 00:47:13,366
I like to hear everything
a certain way.
961
00:47:13,366 --> 00:47:15,836
Even if I do a great take,
I have to do it again,
962
00:47:15,836 --> 00:47:18,004
and again and again
just to make sure it's, like,
963
00:47:18,004 --> 00:47:20,574
"Oh, okay, that's great.
Let's get another option.
964
00:47:20,574 --> 00:47:22,876
Let's try it this way.
Let's do it that way."
965
00:47:22,876 --> 00:47:26,312
And to a point where I drive
myself a little cuckoo crazy,
966
00:47:26,312 --> 00:47:30,551
and me always striving
for the best, you know,
967
00:47:30,551 --> 00:47:33,587
vocal acrobatics that I could do
and challenging myself,
968
00:47:33,587 --> 00:47:38,559
all about challenging myself
all my life.
969
00:47:38,559 --> 00:47:40,026
Don't look at me.
970
00:47:40,026 --> 00:47:44,497
PERRY: As soon as she said,
"Don't look at me," I heard it,
971
00:47:44,497 --> 00:47:47,734
the vulnerability in her voice,
the insecurity that,
972
00:47:47,734 --> 00:47:51,271
oh, she really doesn't
think she's all that.
973
00:47:51,271 --> 00:47:55,842
♪ Every day is so wonderful ♪
974
00:47:55,842 --> 00:47:57,443
♪ Then suddenly ♪
975
00:47:57,443 --> 00:48:03,850
It's letting go of ego
and being open to failing.
976
00:48:03,850 --> 00:48:08,154
♪ Now and then I get insecure ♪
977
00:48:08,154 --> 00:48:11,758
The beautiful thing
about that version
978
00:48:11,758 --> 00:48:20,166
is when Christina sang it,
it was just ‐‐ It was emotional.
979
00:48:20,166 --> 00:48:23,303
That was the take that I knew,
right,
980
00:48:23,303 --> 00:48:24,705
that that was
the master take.
981
00:48:24,705 --> 00:48:28,408
I added the drums and everything
after the fact.
982
00:48:28,408 --> 00:48:31,477
And Christina kept on coming
to me, "I got to resing that."
983
00:48:31,477 --> 00:48:32,879
You know,
"When can I resing that?"
984
00:48:32,879 --> 00:48:34,480
I'm like, "Resing it?
985
00:48:34,480 --> 00:48:37,751
Are you crazy?
This is magical.
986
00:48:37,751 --> 00:48:41,054
Like, people would die
for this emotion."
987
00:48:41,054 --> 00:48:46,326
♪ So don't you bring me down
today ♪
988
00:48:46,326 --> 00:48:49,162
So, she kept on saying,
"But wait a minute.
989
00:48:49,162 --> 00:48:50,897
It's not ‐‐
That was my first take."
990
00:48:50,897 --> 00:48:52,599
I'm like, "I know!"
991
00:48:52,599 --> 00:48:54,200
She's like,
"But I can do better."
992
00:48:54,200 --> 00:48:55,536
I go, "I know you can.
993
00:48:55,536 --> 00:48:57,838
That's why you're not gonna
resing it."
994
00:48:57,838 --> 00:48:58,905
♪ ...all your friends ♪
995
00:48:58,905 --> 00:49:01,141
It was like seven months
of this.
996
00:49:01,141 --> 00:49:02,743
Like, the album is,
you know, done.
997
00:49:02,743 --> 00:49:07,013
It's being mastered,
and she's still going at it.
998
00:49:07,781 --> 00:49:11,017
So we go in the studio,
put it all up,
999
00:49:11,017 --> 00:49:12,352
and she starts singing,
1000
00:49:12,352 --> 00:49:13,887
and I just literally
just one time ‐‐
1001
00:49:13,887 --> 00:49:17,023
I mean, we were, like,
maybe a minute into the song,
1002
00:49:17,023 --> 00:49:18,424
if even that.
1003
00:49:18,424 --> 00:49:21,461
I just stopped,
and I'm like, "We're done."
1004
00:49:21,461 --> 00:49:22,963
And she's like, "What do
you mean, 'we're done'?"
1005
00:49:22,963 --> 00:49:27,033
I'm like, "I can hear already
you're oversinging,
1006
00:49:27,033 --> 00:49:31,137
you're over‐perfecting,
and you're ruining this song."
1007
00:49:31,137 --> 00:49:33,507
♪ Down, oh, no ♪
1008
00:49:33,507 --> 00:49:35,108
I'm like,
"Oh, what does she mean?
1009
00:49:35,108 --> 00:49:37,277
God, what am I doing?
What am I doing wrong?
1010
00:49:37,277 --> 00:49:38,945
I don't understand
this form of perfection."
1011
00:49:38,945 --> 00:49:41,782
And then, I finally realized
there is no perfection.
1012
00:49:41,782 --> 00:49:46,520
It's about finding the beauty
in the cracks and the holes
1013
00:49:46,520 --> 00:49:49,823
and the imperfections
that's so perfect,
1014
00:49:49,823 --> 00:49:53,426
and beautiful,
and I didn't really get that.
1015
00:49:53,426 --> 00:49:57,130
You know, the raw quality
of vocal cracks
1016
00:49:57,130 --> 00:50:02,302
and graininess
and all that beautiful stuff
1017
00:50:02,302 --> 00:50:04,270
that goes along
with just pure honesty,
1018
00:50:04,270 --> 00:50:06,640
which I always got lyrically,
1019
00:50:06,640 --> 00:50:09,610
but I really didn't
quite understand vocally.
1020
00:50:09,610 --> 00:50:13,413
♪ Don't you bring me down ♪
1021
00:50:13,413 --> 00:50:17,984
♪ Mmm, mm, mm, today ♪
1022
00:50:17,984 --> 00:50:22,288
PERRY: It's actually
about people allowing themselves
1023
00:50:22,288 --> 00:50:25,391
to be vulnerable and insecure
1024
00:50:25,391 --> 00:50:27,227
and not always feeling like
1025
00:50:27,227 --> 00:50:29,329
they're gonna get
everything right,
1026
00:50:29,329 --> 00:50:32,633
because that's what
the true beauty of life is.
1027
00:50:32,633 --> 00:50:35,836
It's about not really
getting it right.
1028
00:50:35,836 --> 00:50:39,640
It's just getting it right
in the moment of who you are
1029
00:50:39,640 --> 00:50:40,741
right now.
1030
00:50:43,043 --> 00:50:44,745
HARPER:
Certainly, while all music
1031
00:50:44,745 --> 00:50:48,682
can be a mathematical equation
to varying degrees, soul isn't.
1032
00:50:48,682 --> 00:50:50,250
Soulfulness isn't.
1033
00:50:51,918 --> 00:50:53,319
There's such a huge,
1034
00:50:53,319 --> 00:50:55,556
great soulful place
for technology in music.
1035
00:50:55,556 --> 00:51:00,426
There is, but there is a place
where you just go over the edge
1036
00:51:00,426 --> 00:51:02,996
and lose the center
of the circle.
1037
00:51:03,764 --> 00:51:06,600
WANG: Every generation of people
who listen and write
1038
00:51:06,600 --> 00:51:10,136
and think about music
always fear that technology
1039
00:51:10,136 --> 00:51:12,539
is gonna create
this homogenous sameness,
1040
00:51:12,539 --> 00:51:15,341
and that everything's
gonna sound the same.
1041
00:51:15,341 --> 00:51:16,943
And you can find
those complaints going back
1042
00:51:16,943 --> 00:51:18,478
to the 1920s and '30s.
1043
00:51:18,478 --> 00:51:20,547
You know, here we are
almost a hundred years later,
1044
00:51:20,547 --> 00:51:22,348
and if you look back
on the history of it,
1045
00:51:22,348 --> 00:51:23,884
you would never say, "Oh, yeah.
1046
00:51:23,884 --> 00:51:25,719
Music in all of these
different generations and eras
1047
00:51:25,719 --> 00:51:27,721
all sounded the same."
We can always find difference.
1048
00:51:27,721 --> 00:51:32,125
We can always find things that
stand out to us as being unique.
1049
00:51:32,726 --> 00:51:34,194
HEAP:
The ones that we remember
1050
00:51:34,194 --> 00:51:35,529
are the ones
that did it really well
1051
00:51:35,529 --> 00:51:38,298
and were different
and innovative enough
1052
00:51:38,298 --> 00:51:39,966
to stand the test of time.
1053
00:51:39,966 --> 00:51:42,869
It's not the technology
that makes great music.
1054
00:51:42,869 --> 00:51:44,370
It's what's in your heart.
1055
00:51:48,642 --> 00:51:56,817
ZANES: We don't really judge a
vocal on an intellectual level.
1056
00:52:00,253 --> 00:52:03,089
What we respond to
is some feeling
1057
00:52:03,089 --> 00:52:07,193
that they're
honest performances.
1058
00:52:07,828 --> 00:52:11,632
And when we start to feel like
the singer
1059
00:52:11,632 --> 00:52:16,402
is carrying some truth to us,
we make the deeper investment.
1060
00:52:17,237 --> 00:52:20,641
This is not just
the singer‐songwriters.
1061
00:52:20,641 --> 00:52:23,376
It's not just
that confessional mode.
1062
00:52:23,376 --> 00:52:25,345
It's James Brown.
1063
00:52:25,345 --> 00:52:28,715
It could be Chic.
1064
00:52:29,315 --> 00:52:32,919
But we know when it's,
you know ‐‐
1065
00:52:32,919 --> 00:52:35,121
This is where we start
to run out of words,
1066
00:52:35,121 --> 00:52:38,058
and we turn to authentic.
1067
00:52:38,058 --> 00:52:40,661
[ "Bohemian Rhapsody" plays ]
1068
00:52:44,030 --> 00:52:46,432
♪ Too late ♪
1069
00:52:47,067 --> 00:52:49,836
♪ My time has come ♪
1070
00:52:49,836 --> 00:52:52,739
♪ Sends shivers down my spine ♪
1071
00:52:52,739 --> 00:52:56,510
♪ Body's aching all the time ♪
1072
00:52:56,510 --> 00:52:59,479
♪ Goodbye, everybody ♪
1073
00:52:59,479 --> 00:53:02,482
♪ I've got to go ♪
1074
00:53:02,616 --> 00:53:08,454
♪ Gotta leave you all behind
and face the truth ♪
1075
00:53:09,355 --> 00:53:14,360
♪ Mama, ooh ♪
1076
00:53:15,662 --> 00:53:18,699
♪ I don't want to die ♪
1077
00:53:18,699 --> 00:53:25,471
♪ I sometimes wish
I'd never been born at all ♪
86762
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