User reviews

Greetings again from the darkness. "And the colored girls go do doo doo, do doo ...". The controversial lyrics from Lou Reed's "Walk on the Wild Side" kick off this exceptional documentary about the oft-ignored back-up singers who have played (and continue to play) a huge role in some of the biggest songs of all-time. You may not know their names, but you have undoubtedly sung along with them while driving or taking a shower.

Director Morgan Neville has a credit list filled with music shorts and documentaries. One of my personal favorites of his is The American Masters on Muddy Waters. I recalled that while watching this one because Neville does a nice job of connecting the dots from Gospel, Blues and Soul to the roots of Rock and Roll. The main women featured here all admit to being daughters of preachers, and fine-tuning their ability to harmonize during their youth while singing in the church choir.

Most of the interview time and insight comes from Darlene Love, Lisa Fischer, and Merry Clayton. You may not recognize the names or faces, but you will surely recognize the voices. Ms. Love has been elected to the Rock and Roll Hall of Fame, and may be best known thanks to her annual appearance on the David Letterman Show at Christmas. Ms. Fischer is the most frequent worker today of the three as she tours with Chris Botti, Sting and The Rolling Stones. However, the heart-stopping climax of the film belongs to Merry Clayton, as we are treated to her isolated vocals from the master on her infamous performance on the single "Gimme Shelter". Hearing her raw voice blast out "Rape. Murder. It's just a shot away" is both exhilarating and gut-wrenching. To hear her tell the story is mesmerizing. One of my favorite movie moments ever.

While we see and hear the personal stories filled with frustration and regrets, we also see an inherent love of music and the appreciation for their particular gift. We also hear from Tata Vega, Dr. Mabel John (a former Raelette for Ray Charles), and Claudia Lennear. With many similar stories of their quest for solo careers, we get the contemporary version with Judith Hill, a twenty-something working back-up today as she strives for a solo career. The parallels are obvious with her older peers.

Another excellent feature of the film comes in the form of interviews from the likes of Bruce Springsteen, Sting, Stevie Wonder, Lou Adler, Chris Botti, and Mick Jagger. We also see some studio shots featuring Phil Spector (once the hottest music producer, now incarcerated), and concert footage of Talking Heads, Ray Charles, The Rolling Stones, and the Concert for Bangladesh. It's especially fitting to see Luther Vandross as a back-up singer to David Bowie's "Young Americans", and to hear from Sheryl Crow, who worked as Michael Jackson's back-up/lead female. These are the examples of the back-ups who successfully made the walk.

My only minor quibble with the film is structural, not content. Neville has an over-whelming task of addressing each of the individual stories, while also relating it to the nasty and unfair music business, the Civil Rights movement, the development of Rock and Roll, and the role that "talent" plays in what Springsteen terms the "complicated" walk from back-up to lead singer (the titular 20 feet). The segment focusing on Merry Clayton's role in Lynyrd Skynyrd's "Sweet Home Alabama" is especially poignant. Overall this film is fascinating and entertaining, and makes a great companion piece to Standing in the Shadows of Motown (2002) and Muscle Shoals (2013).

This documentary is another in a recent cycle that looks at those from the music industry who have been neglected in some way. In 'A Band Called Death' we learn about an innovative proto-punk band who never even got a chance to record an album and were only rediscovered over 35 years after recording their demo tapes, in 'Anvil: the Story of Anvil' we follow a band who have maintained a very mediocre level of success over a very long time and in' Searching for Sugarman' we are given the incredible story about a musician who released a couple of records that no one bought and who vanished without a trace for quarter of a century. The angle that '20 Feet from Stardom' is coming from is very similar but with a twist – this is the story of neglected musicians who are in actual fact the voices of the sounds that have been in ours heads our whole lives.

It centres on a selection of classy African American female backup singers who recorded vocal accompaniments for a series of stars from the 60's to the present day. While they were essentially voices for hire, often it was their vocals that made the songs so good – listen to David Bowie's 'Young Americans' and tell me that it's the backing vocals that aren't the best part. But the story has a sadness, as these incredible singers rarely got beyond the backup part of the act. Sometimes they tried and their career stalled. This was because being a successful solo artist requires so many variables such as songs, charisma and determination. While it also needs the marketing powers of the record label. All these ingredients are not necessarily a given for someone with a beautiful voice. However, in some cases actual exploitation seems to have occurred as in the case of Darlene Love, who was used by producer Phil Spector as the voice that the girl group The Crystals claimed as their own but even more unforgivably, Spector got Love to record a track promising it was going to go out under her name only to surreptitiously give it to The Crystals again.

The film uses a talking heads format, with contributions from a variety of stars that used backup singers such as Mick Jagger, Bruce Springsteen and Sting. There is also priceless archive footage of the likes of Ray Charles and, best of all, Ike and Tina Turner. Sometimes we even get to deconstruct a famous song to hone in on the backup vocals, such as in the case of the track 'Gimme Shelter' which is very possibly the best song the Rolling Stones ever recorded. We hear the backup vocal in all its isolated glory and it becomes very obvious that without it, this song would simply be nowhere near as powerful. So, let's hear it for those unheralded women who have filled our heads with such beautiful sounds all these years. This is their moment of recognition and they deserve it.

This is a documentary of the background singers we've been listening to for decades. People whose singing we actually sing or hum to without ever knowing who they are. They work in the studios and live on stage with The Rolling Stones, David Bowie, Sting, and many, many others. That magic that works in the studio or on stage as background singers is undeniable but may not necessarily be there for them when they try to branch out on their own as a lead singer. They are talented for sure and many songs wouldn't sound anything like they do without back up singers.

The documentary is good however, something is missing. Who actually calls the singers for a gig? Who actually pays them? How are they paid? By the hour? By the session? How did they get started? Where was their first gig? None of this spoken of and there is a sense that perhaps the interviewers were told that they shouldn't dig too, too deep.

Not bad but left me wanting more.

There are some people who toil anonymously in the music business: session musicians, recording engineers, producers and so on. And then there are the backup singers. Many of those, probably most dream of being out front, becoming a star, and gaining worldwide fame, applause, respect.

For most, it doesn't happen. Once in a while somebody breaks through: Whitney Houston, Mariah Carey, Elton John, Barry Manilow, Sheryl Crowe, Phil Collins. More often, it's a day job, and they are called for sessions, sing their part and go home. Sometimes they will be a permanent part of the act, like the Raylettes with Ray Charles, but they don't get the big rewards the upfront star does.

Such is the story of "20 Feet From Stardom", where we meet a half dozen or more who have had a career in the back light, occasionally getting the break to record their own album, and then ... nothing. Darlene Love was the voice of the Crystals, except Phil Spector kept slapping somebody else's name on her recordings and she got nothing. (She ended up cleaning houses for a living. But two years ago, in much belated recognition, she was inducted into the Rock & Roll Hall of Fame.) Merry Clayton is another; she's the haunting female lead on the Stones "Gimme Shelter", but as a solo artist she just never took off.

It's a well constructed film, and if a bit indulgent here or there, it's just a matter of choice in the editing booth, not a failure of the director to deliver.

If you have any interest in the music industry, or have ever thought of a career as a singer, this is a great lesson on the realities of that business. (This would also apply to acting, where "That Guy" did a similar riff on that equally competitive business.

Of course it's worth noting that while there are lots of people "20 Feet from Stardom", there are legions more who never even get that close, and who wind up singing in saloons, street corners, and even subway stops. It's a tough world out there. "20 Feet From Stardom" picks a point closer to the pinnacle, but not quite, and that's what makes it interesting.

This film is highly recommended.

Midway through Morgan Neville's riveting new documentary about the world of backup singers, Twenty Feet from Stardom, music legend Sting comments that the most important factors needed for success, more so than talent, are luck and timing. That sage comment is the crux of this thoroughly entertaining film.

We meet a series of talented vocalists, mostly unknowns who contributed to many hit recordings of the past (songs like Gimme Shelter, Walk on the Wild Side, Young Americans, What'd I Say, and Sweet Home Alabama). We learn about their journey for fame and fortune and its high cost. Many edge their way toward the spotlight only to somehow lose sight of that elusive goal. Twenty Feet from Stardom honestly tells their life stories. Most end unhappily, some are more fortunate. All are thoroughly engrossing studies of blind ambition (or in some cases, the lack thereof) and the singer's personal need to share their vocal gift with others.

These background singers are a remarkable bunch of gifted performers, many of which go unrecognized by the general public, including myself. Names like Merry Clayton, Lisa Fischer, Judith Hill, the Waters Family, Claudia Lennear, Mabel John, Stevvi Alexander, Jo Lawry, and Tata Vega are bantered about. We witness these gifted women and their incredible high- reaching vocal range. This documentary gives the moviegoer a front row seat. It's must-see viewing.

Their individual journeys are fascinating and varied. We learn that some of these session singers leave the music industry to start other careers while others still languish in the music business waiting for their next gig. One singer ends up posing for Playboy while another finds a religious calling. One even wins a Grammy Award for Best Female R&B Artist for her debut album, only to find that her fame evaporate until her next recording. Probably the best known of these talents is Darlene Love who tells her tragic tale of the Svengali-like Phil Spector and his malicious control over her career. (Love poignantly admits that watching other performers lip-syncing to her voice and losing her musical identity in the process became too much for her to handle. We then actually see the footage of that act in question.)

Sometimes the film overstates its message and becomes a bit redundant. But the filmmakers have culled extraordinary performances, both then and now. Neville builds his story with rare archival footage of these singers in performances from the sixties to present day and he masterfully incorporates strong imagery throughout the many interviews with established stars like Bruce Springstein, Stevie Wonder, Patti Austin, Chris Botti, Bette Midler, Mike Jagger, and the aforementioned Sting. These stars truly appreciate the genuine talent of these women and the musical contributions they bought to their mega-recordings.

Twenty Feet from Stardom creates a visual and auditory record of these great soul singers and may help them one day gain the recognition they deserve. Let's hope filmmaker Neville doesn't need luck and timing on his side either until his next film. He is a real talent to watch and his film is a joy to be heard. (I will eagerly wait for the soundtrack.) GRADE: B+

ANY COMMENTS: Please contact me at: jadepietro@rcn.com

20 Feet from Stardom (2013)

**** (out of 4)

Whereas SEARCHING FOR SUGAR MAN was one of the best films of 2012, this year has another musical documentary that turns out to be a masterpiece. Bruce Springsteen, Sting, Stevie Wonder, Lou Adler, Sheryl Crow, Bette Midler and Mick Jagger are just a few of the well-known singers who talk about some back-up singers who everyone will know from certain hit songs yet it's highly unlikely that you'll know their names. Merry Clayton, Darlene Love, Claudia Lennear, Lisa Fischer, Tata Vega and Judith Hill get their shot in the spotlight as they talk about why they are highly respected inside the business yet they never managed to become "stars" or lead singers on their own. Some of their reasons include them not wanting to but there are some darker ones dealing with race as well as Phil Spector simply hiding one from being famous. 20 FEET FROM STARDOM is a masterpiece in regards to music documentaries and it ranks right up there with some of the greatest ever made. It was rather amazing sitting back and hearing these stories and when you realize some of the music that these women have been involved with you certainly see why so many sing their praises. This includes Clayton who was pregnant and wearing rollers in her hair when she got a phone call in the middle of the night to help The Rolling Stones with what would become the chorus for Gimme Shelter. The film is full of wonderful and touching stories dealing with either high praise or simply hard luck. The fact that so many great songs are so memorable because of something that background singers are doing is a subject that seems to be long overdue. This film certainly makes it a very fascinating subject and it makes you wonder how many others are out there just waiting to get some credit that they deserve. The film features some terrific music from all of the artists mentioned so music fans will have a blast hearing songs from the 50s up through the 90s. 20 FEET FROM STARDOM is certainly one of the best films of 2013.

I had never heard of the performers, but have apparently enjoyed their contributions thousands of times. Praise to the producer and director for their headliner contributors. I saw the film at the Minneapolis - St Paul film festival. Merry Clayton came to the screening and sang for us after the showing. That girl still has the pipes. The story about her audition with the Rollings Stones was a hoot. The soundtrack is wonderful. Lisa Fischer has an amazing voice - blew my socks off. Hope the movie comes to a theater near me, so I can hear it again. I thought the director did a wonderful job of balancing the contributions of the headliners with the life stories of the singers. It was a treat to hear them do their thing out in the spotlight.

Rather disappointing Academy Award winner for Best Documentary, the more so as it was competing against and won over «The Act of Killing», (photographed by a former student of mine, Carlos Arango de Montis), which is by far the superior work, from any angle that you look at both.

Some people claim that saying this is discrediting the struggle of female backup singers, which I do not believe is true. Those persons judge «Twenty Feet from Stardom» from what they consider is a higher standard of documentary filmmaking. And from that point of view, Morgan Neville's film is at least below the account of Indonesian murderers presently on power, which merited the Oscar or any other award more than the story of Darlene Love, Merry Clayton and others.

Above anything else, this is a sentimental, nostalgic trip dedicated to the unsung talent of many great singers (among them, my friend Táta Vega), told in a fashion reminiscent of a television report, only extended to 90 minutes. There are though some major omissions, as Katherine Anderson Schaffner, an original member of The Marvelettes, a group whose artistic name -according to legend- was lost in a card game by Motown founder Berry Gordy; and ex-Supreme Mary Wilson, who could have told many a few controversial anecdotes, unless the filmmakers consider that she reached stardom during her Supremes years and thereafter.

Maybe the Academy members were trying to make up for ignoring in 2002 two similar (and superior, for me) documentaries, «Standing in the Shadows of Motown» and «Only the Strong Survive» (both from 2002), that were not even nominated.

I came across this movie as a preview for another film and I got it out of the library. I loved it and the ladies they featured. These ladies are legends and stars - they are not 20 feet from it they are knee deep in it.... I especially like the special features with the extended interviews. How nice it is to even be considered 20 feet from stardom, it is a blessing as well as a position earned through hard work, dedication and love of sharing the talent. It made me think about the position of a background session singer like a background musician...there are so many great musician out there and not all of them are stars, but they are working, well-respected and sought after...what more would anyone want from the entertainment business...it's a reward. These ladies are those people.

If this film is not an example of what gets buried in our overloaded information society, I don't know what is. So here it goes--this is the film of the year on my list. But of course I am a music fanatic who always wondered about the role of background singers in the great rock bands. This movie answers that, and much more. Because as the film reveals, reading between the frames, the entire era of big production rock bands is probably over. That is news you will not find on the cover of Rolling Stone, but as the movie makes abundantly clear, the huge wave of rock has crashed on the shore and this movie is just one small piece of the music disaster. The film itself follows the careers of a number of anonymous and almost famous background singers, and their experiences are glamorous, thrilling and ultimately tragic. The one singer who rises from the fray is the fabulous Darlene Love. This is one film where walking out during the credits is a big mistake. The segments of the film with Mick Jagger are worth the entire price of admission. One last thought, try to see this film in a theater with a full house. I can't reveal all of it, but bring some tissue and remember that those days were sweet. And the memories are even sweeter. Why does the media ignore this kind of movie? It just is not a summer block buster advertising with full page ads,

15 minutes into 20 Feet from Stardom you really become excited about the possibilities. You hear familiar songs that are given a new perspective and see the faces that match the voices you fell in love with. But before the film winds down, you have more questions than you did going in. It devolves into little more than a well-produced message from the Music Industry Tourism Board. That's not to say there's no value here. It does provide a look at some significant voices with a top-line glance into their place in the recording industry and their personal journeys. There's enough here to engage you and ample servings of some truly outstanding music (the a cappella take of Merry Clayton's "Gimme Shelter" vocal gives you chills and the recollection of its recording session is one of the film's highlights). But it's narrow focus and limited perspective do leave a lot on the table.

The bulk of the film consists of five stories from the 1960s to the present, including Darlene Love (ghost singer for The Crystals on "He's a Rebel" and a featured performer on the greatest Christmas album of all time, A Christmas Gift for You from Phil Spector), Merry Clayton (the aforementioned backup on The Rolling Stones' "Gimme Shelter" and actress from Cagney & Lacey), Tata Vega (The Color Purple soundtrack and numerous background gigs from the 80s to present), Lisa Fischer (Rolling Stones, Luther Vandross and Tina Turner collaborator and Grammy winning solo artist), and Judith Hill (Performed at Michael Jackson's memorial service and would go on to compete on season 4 of The Voice after the film's completion).

While both Tata Vega and Lisa Fisher seem to lack the resume of classic recordings that Love, Clayton or Claudia Lennear (another subject) have racked up, Judith Hill's inclusion is perhaps the most questionable. She seems to view the role of backup singer unbefitting her, going so far as to wear a wig when performing a backup gig on television so as not to be recognized by her fans. Having not amassed the body of work the other subjects have, she has little to contribute here except as a counterpoint to Lisa Fisher's humble demeanor or as a throw-in to represent the future of the industry. Unfortunately, she seems ill-suited to be a symbol or generational representative, as her scenes fail to accomplish this goal with any impact.

One of the issues I had coming into this movie as a music fan is that I was able to see the potential this kind of documentary had in mining the munificent history of Rock and Roll and Soul music. However, perhaps because of my own musical biases, I found the segments focusing on the music and voices of the 60s and 70s so much richer and more interesting. The film introduces big figures of the time like Phil Spector and Ike Turner but never explores the gory details of what it was like working with such notorious personalities. Indeed, one could have easily have scrapped anything 80s and upward and filled that time talking about the difficulties these women of colour faced from producers, record labels, and even the lead vocalists themselves, during some very turbulent times. Throw in some of the talented ladies from the George Clinton, Sly Stone and James Brown revues, or perhaps even a few of the fellas, and you have yourself a foundation for an insightful film.

The movie also fails to explore what it was like performing on some of the most famous recordings of our time and have little to show for it. Nothing is done to investigate whether these artists were fairly compensated. It was great that they were able to get Mick Jagger to sit down and talk about his backup singers, but it would have been interesting to ask him if he thought they had been properly remunerated for their work. Just a bit of a look into the mechanics of the industry in that regard would help us better understand what being in that occupation was like from a financial standpoint and what kind of life that affords.

At the end of the film's airy 90 minute running time, one does walk away with a new appreciation for the role of the backup singer (for at least the next little while) and perhaps that's all this documentary ever aspired to be. But an Oscar nominee should strive for something greater than that. While being entertaining, the film is hardly insightful and leaves one with the distinct impression of wanting more. Perhaps we can get a miniseries on this one day.

I watched this movie last night and enjoyed it. This morning I came to write a glowing review, but I decided to read a few other reviews first. Imagine my shock when I saw several informed reviews criticizing the film for its blatant fabrication of facts. So I paused to do some research on my own.

The worst fudging seems to be regarding the career of Darlene Love which, to me was the most interesting part of the documentary. It's interesting because Darlene makes the claim, backed by documentarian Morgan Neville, that Darlene was the real lead singer on several songs which ended up being credited to other artists. It blames Phil Spector (you know, the guy who is currently serving 19 years for 2nd degree murder of actress Lana Clarkson) for maliciously manipulating Darlene Love and tricking her with promises of a solo career but instead crediting other singers for Darlene's work. Journalists were unable or unwilling to reach Phil Spector in prison to check facts; the world would much sooner believe a poor victimized singer who is forced to clean houses for a living than a rich & powerful murderer.

The truth is convoluted (if you're curious, there's a pretty credible analysis on songfacts.com, search for the song "Da Doo Ron Ron"). The official record stands that Darlene Love has since retracted her claim that she sang lead. Last year the NY Times issued a correction to its article which had praised this film, stating that Darlene Love did NOT sing "Da Doo Ron Ron", but maintained that Darlene sang backup on it. But the real truth is that Darlene's voice wasn't on that song at all. The backup singers were Fanita James, Gracia Nitzsche & Cher.

There's more, but you probably get the point. Not only is this documentary inaccurate, it may be deliberately fraudulent for the sake of weaving an underdog story that never was. It's really sad that the film screwed up on that account, because there's plenty of other things it could have focused on instead of claiming that these singers were cruelly manipulated.

Like the far superior documentary "Standing in the Shadows of Motown", this film could have focused on the inspirational story of musicians who are simply proud that they helped make musical history--regardless of if they became superstars. In "Shadows" we don't get a weepy pity party for anyone; instead we get a triumphant revelation that the greatest session musicians were just ordinary Joes & Janes who never craved the spotlight. In "20 Feet From Stardom" we get conflicting messages: on one hand that the backup singers are content to remain in the background, on the other hand we get the picture that these backup singers were cheated out of stardom by sleazy producers. And lo & behold, those claims aren't even true.

So, like my title says, I feel horribly cheated and manipulated myself. I had come here ready to write a rave review of what I thought was a polished & informative documentary deserving of its Academy Award (make no mistake, the cinematography and intimate studio footage are excellent), but 10 minutes researching the truth showed me that this documentary can't be trusted.

Check out "Standing in the Shadows of Motown" instead. If you like other styles of music (like metal, for example) check out a wonderfully heartwarming & unintentionally hilarious documentary called "Anvil! The Story of Anvil". The music world is full of interesting stories without documentarians needing to manufacture them.

The Oscar-winning documentary "20 Feet from Stardom" does a credible job in depicting the highs & lows of past & present background singers. And while non-music fans might think "20 Feet from Stardom" is more like "20 scenes of Boredom", it still authentically highlights the much underrated role of the background singer. There are many heavy-hitting recording artists that speak of their background singers; those artists include Mick Jagger, Sting, Stevie Wonder, Bette Midler, Bruce Springsteen and others; not too shabby of a lineup. But the real voice of "20 Feet From Stardom" is when Writer-Director Morgan Neville interviews the background singers and they reveal their incredible elevator rides in their careers. OK, that was my high pitch for "20 Feet From Stardom". **** Good

"20 Feet from Stardom" is immensely enjoyable, affectionate and profoundly compassionate look at the life and destines of background singers, hence the title. It is something I was aware long ago - probably back in the 1980s when I was teenager listening than-current pop hit "Culture Club" and quickly noted that backing vocals of Helen Terry were far superior to the main singer. Through the years it became kind of hobby to spot great background voices without whom the final results would never be the same, it seems no matter how great stars were, they often shone even better (or were inspired by) when they have brilliant and oh-so-brief support from the background. This documentary finally set the record straight - yes, these anonymous voices are equally important and as someone noted, trough the years stars change but musicians and backing vocals on the stage always stay there constantly present.

Tons of famous people here talk about phenomenon of backing vocalists - everybody from Mick Jagger, David Bowie, Sting and Bruce Springsteen theorize about importance of background singers on their albums and that little/huge step that separates musician from a star. Some of those girls are actually far more comfortable in the background than being in the spotlight. Naturally there is a thrill of ambition but also a frustration when promises and plans don't work out. Many of them were so celebrated in the field that they always found work, but even more of them suffered humiliations, cheating and simply quick change of music trends. What is most fascinating is something I always wondered about - some of these backing vocalists are honest-to-God far superior singers than many solo artists.

Bette Midler makes interesting statement when she describes music industry in 1950s where backing vocalists were without exception mostly white, sugary and cheerful voices until early 1960s when Phil Spector and the whole girl-group phenomenon finally ushered powerful black voices on the scene. Here is where mighty Darlene Love comes in the picture and she is legendary background singer on whose shoulder everybody else was standing ever since - even with the fact that she was impoverished and anonymous (reduced to cleaning houses) when her hit singles played on the radio, people like Bruce Springsteen and Stevie Wonder paid attention to that girl in the background. Documentary also follows destines of other voices like Mable John (a former Raelette behind Ray Charles), ex-Ikette Claudia Lennear, powerhouse voices like Merry Clayton and Tata Vega (who sang in "Color Purple"), people like The Waters Family (who sang behind every possible project imaginable) up to present time with Judith Hill (behind Michael Jackson) and most fascinating of all, Lisa Fischer who is in words of Chris Botti "a freak of nature" and can sing circles around everybody in the business - just watching her singing is seriously life-changing experience because this girl sings from a deep spiritual place from somewhere inside her and though people in the industry recognize this (she is often not just backing vocalist on Sting/The Rolling Stones/Tina Turner tours but constantly given solo spot to shine) her career never really took off. She got herself "Grammy" for one album and than disappeared in the background again - Patti Austin thinks that no matter how strange this might sounds, some people genuinely prefer camaraderie and joy of group creation to celebrity status. Tata Vega thinks that this is a true, spiritual magic of music and not anything else about the business. Lastly, Merry Clayton is still crushed when decades after her solo albums went nowhere reminisces how she expected that if she gave everything honestly and from the heart, the success will happen automatically. (She was the unforgettable voice behind "Gimme shelter" on The Rolling Stones classic).

I truly enjoyed this movie and was even more excited to find out it was awarded with "Oscar" for the best documentary, which gave chance to Darlene Love to stand on the Academy Award podium and raise that powerful voice to the skies. She really unleashed it and its impossible to watch that moment without celebrating it together with her. Raise the glass for all the ladies from the background because they deserve it.

I can't say I ever thought much about backup singers. Now I won't be able to watch any performance without wondering about the lives and aspirations of those off to the side. The stories are interesting, as are the discussions of the puzzling nature of fame in the music industry. It's also fascinating to see how much these people *love* singing and music. Many of them seem to love it more than the people they back up; they live purely within the song.

Even though the movie was only 90 minutes, it felt a little long to me; at a certain point it felt like they'd said everything they had to say and were just repeating themselves and showing us a few more songs. But it was very engrossing for most of the way through.

I don't really believe the performers who tried at, and failed to reach, solo success; sure they say now it's probably for the best, but I'll bet any of them would still take it if it was just handed to them.

The talent exhibited is pretty impressive, especially Lisa Fischer, who is a truly phenomenal singer. On the other hand, when you actually look into the solo albums of some of these people, you can see that their lack of success isn't that puzzling. I found a video with Fischer that is some generic song that fails to show her range; any competent singer could have done it. And that's the thing, it doesn't matter how talented you are if you don't have a vision, or have a producer with a vision. And that vision has to resonate with people. Yes, these people had incredible talent (and at least one of them probably did have a great album), but in a way what the movie shows is how talent is only a small part of the equation.

...I could have done with another hour of celluloid addition to a fascinating but sadly pretty-much unheralded essential of live music making and music recording through music's last sixty-years of history. All of these women are true giants within the industry. An easy pleasant watch.

Backup singers live in a world that lies just beyond the spotlight. Their voices bring harmony to the biggest bands in popular music, but we have had no idea who these singers are or what lives they lead, until now.

Throughout this documentary, there is a racial component, primarily because the artists featured had a background as gospel and choir singers. But there is that constant theme that backup singers are black women, from the opening with Lou Reed to the closing...

The backup story was interesting, but I liked the other things it uncovered more: how Phil Spector was hosing people, such as Darlene Love. And the Luther Vandross, David Bowie and Bruce Springsteen connections. Those are three guys I did not know hung out together.

How this won the Oscar is beyond me, unless they just like awarding entertainers. As good as this movie is (and it really is quite good), it has nothing compared to the impact of "The Square" or "Act of Killing", and I think is a bit of sad choice...

They're the secret weapons behind most of the iconic music of their era but the public rarely knows their names. They take over the world of white backup singers and plain vanilla performances. They come from the gospel world. Darlene Love works under producer Phil Spector who uses her voice and released it as other people. These women are part of some of the most iconic songs ever.

This is a lot of information and a lot of different people. There are plenty of big names and recognizable faces. It's a lot of stories and songs. The first half is more like a highlight reel of fascinating behind-the-scene snippets. There's nothing wrong with that but it does get a little repetitive. The overall flow does allow the flow of time to deliver an overall story of backup singing in general. The second half recounts some of the girls trying to make it on their own and that part is interesting.

This is a study of those backup singers possessed of as much talent as the stars they work for, but who have somehow not managed to ascend to show business' top tier. Partly this is due to lack of will; partly due to luck; and partly due to the fact that perhaps talent is not enough to ensure one's name emblazoned on marquees outside theaters.

Among those interviewed include producer Lou Adler, singers Patti Austin, Merry Clayton, Amy Christian and Carole Childs (among others), Mick Jagger, Stevie Wonder and Sheryl Crow. What emerges most tangibly from Morgan Neville's film is that there exists a definite pecking-order between stars and their backing singers; although Wonder and Jagger (especially) praise the efforts of those who have worked so hard to make their albums memorable, they regard the singers as secondary beings. In Jagger's case, there is a definite sense that he treats them as commodities, to be engaged by producers and to be available whenever the star requires.

The careers of these singers stretch way back to the mid-1960s; and some of them continue working to this day. For the most part they are philosophical about their careers; even to be a backing singer on some of the greatest hits of the last five decades is something memorable. But we cannot but help empathize with their underlying disappointment as they reflect on what might have been, had the breaks gone their way.

There are some memorable performances in 20 FEET FROM STARDOM, which make the film eminently watchable, but the overall mood is elegaic, a longing for what might have happened, even though most of the singers have enjoyed financially successful existences.

This movie, simply just shows us how to live life. I am so happy to live in a time where the forgotten can be not only remembered, but celebrated and heard once again. A metaphor for all of us... We have to share our gifts, keep getting up when knocked down, and remember we can live until we are dead... I cannot wait to see what these ladies do with the rest of their lives and their careers. I am so happy to hear that some of them will have their catalogues re-released and even a sound track from the movie is going to be available soon. Glad to see The Weinstein company helping so that this Documentary can also be celebrated for the Oscar it is going to win next winter. Lisa Fisher and Darlene Love along with Tata Vega and Merry Clayton all carry this movie and then the very current struggle of the DIVA Currently struggling out of the back of the pack, Judith HIll are amazing.