Lisa Fischer

I go, all right, man, because it wasn't my girlfriend.

And that's how we became friends.

Listen, I'm a Brooklyn dude, so I can't take kindly to what a lot of people say to me.

So,

Anyway, I went to school there.

But he didn't, he liked it.

And a lot of my friends, I'm looking around to see if I see any of my

old friends.

... and to also hire, you know, 'cause she was doing her whole band over, 'Could you get me the singers?' I was like, "Uh, okay.

I'm new here, but sure." [laughs] So I was like, so I like held auditions, the whole thing, and then ended up just going with somebody I already had met when I lived in Texas already, and that was Lisa Fisher and, uh, Brenda White King, who she r- recommended.

And so, um, and L- and so, so the, the, Lisa, we did the Chaka thing together, and I started.

Lisa was starting to do Luther at that point, and she didn't have enough time to do like all the sessions that she was doing before.

He had Natalie Cole, he had Trace Chapman, he had, he, he had, uh-

Yeah

... uh, Cindy Mizelle, Lisa Fisher.

He had me.

Had a banger before this.

Lisa Fisher on vocals, original mix of Sore.

Good tune, that.

We might not have no, uh, jingles tonight, but we've, uh, we've still got all the usual, uh, bits and bobs.

Um, that last one was Gil Scott-Heron and Brian Jackson with Push Comes to Shove off their 1980 album called 1980.

Um, before that was something off his album that came out this year, Brian Jackson featuring Lisa Fischer with, uh, their version of Home is Where the Hatred Is.

That album called, um, Now More Than Ever, and prior to that was Gil Scott-Heron with a solo version of the same song, um, coming off his 2010 album, I'm New Here.

That was his fifteenth and final studio album.

Sorry to interrupt, Louis.

This is Soar by Elements of Life and Lisa Fisher.

And then the last one is called Can't Let You Go, the Co-Flow dub by Lolita Holloway and Co-Flow.

Thank you so much, everyone, for your attendance tonight.

And Randy's also on from across the pond at midnight tonight.

So thank you, thank you, thank you, everyone.

I'll let Lisa Fisher sing along now.

Take care, everyone.

Ah.

Lisa Fisher.

Wow.

Valerie Simpson.

20 Feet from Stardom, Morgan Neville's 2013 documentary about backup singers, uses split screen and layered audio to emphasize how these voices support and enhance lead vocals.

When you see Darlene Love, Mary Clayton, Lisa Fisher, and others perform, the film visually represents their contributions, literally showing them 20 feet from stardom while making the stars' performances possible.

Mary Clayton's story about recording backing vocals for The Rolling Stones' Gimme Shelter going into labor shortly after that powerful performance becomes a metaphor for how backup singers give everything to recordings that will make others famous.

In conclusion, the technical and artistic innovation in music documentaries has transformed them from simple performance records into genuine cinema, where directors' choices about framing, editing, sound design, and narrative structure shape how we experience and understand the music being documented.

And this gorgeous track is from the one and only Louis Vega and Elements of Life.

Lisa Fisher on the vocals.

Just a beauty.

I

need a spell.

The latest one from the legendary Louis Vega is called Soar.

Lisa Fisher on the vocals and of course, Elements of Life.

Sounding so good, he never misses, does he? All right, up next we're gonna play a track from Muscle Cars.

And I brought in, obviously, I brought in Mellie Mell and Fletcher, who were friends of mine, and Soul Sonic.

And Lisa Fisher and Cindy Meidel did songs.

They weren't in Brenda K. Starr.

So basically, not only did I do the music, but I was also doing a lot of cocaine at the time.

stuff the mac yeah yeah yeah

mac band we did we did productions on them and we had different singers singing our demos so um lisa fisher was one of the One of our singers.

Now, I knew Lisa from, I met Lisa in 1983 on a session that I was doing for Billy Ocean, right? So she was in the studio.

She was in the.

That's him.

We're going to get to this.

Yes.

So, you know, I met Lisa then.