Duett barry white biography
Guilty (1980)
For the duet, “Guilty,” the production team had to adjust Barry Gibb's vocal. “When we recorded ‘Guilty,’ we’d already cut the track,” Galuten said. “Originally, Barry was not going to do any duets. They talked him into it. So, for his verses, we had to change the key and had worked out modulations to go from one key to another, from verse to chorus, and then overdub the instruments, fit them in, and fly that stuff around to literally create the verses for Barry that were in another key. Wherever Barry sang verses, those were never recorded in that key—they were originally recorded in different keys in different parts with everything but the drums.”
“It took us two weeks to combine the vocal,” Richardson explained. “I spent days in the studio with an oscilloscope and looking at her and the rhythm of the song and moving things in milliseconds because, again, these are rhythmic songs, [sings, emphasizing the beats] ‘and we got nothing to be guil-ty of…’ and all that stuff. You’ve got to have that nailed. She wasn’t exactly there all the time.”
Galuten added: “Barry’s feeling and his vision is that meter is pretty much on time. There’s a beat and it goes right there. And the same thing with the pitch—you don’t really scoop into pitches, you just…you’re supposed to hit the pitch and nail it. So, in order to adjust Barbra’s vocal so that it met with Barry’s sensibility, we were moving the time—and this was before the days of sampling and being able to move vocals around—with these little tiny offsets and fractions and punch-ins and delays. And doing the same thing with harmonizers to do three or four passes at the beginning of a vocal word so it would hit it right on and not slide up the way Barbra liked to do.”
“I had two machines lock
Barry White: The First, The Last, The Everything Of Romantic Soul Music
How much is too much? Sex and seduction can be a difficult issue in music. In the 70s, not many artists could get away with being explicit about sex. Donna Summer; reggae singer Max Romeo, on occasion; Marvin Gaye on the likes of “You Sure Love To Ball,” but they walked a thin line between taste and ridiculousness. Romeo took to denying that his jokey 1969 hit “Wet Dream” was about sex. Donna Summer abandoned the abandonment that made “Love To Love You Baby” her breakthrough hit. And Marvin only got away with his sexy stuff because he was a handsome musical genius who could do what he liked. Barry White’s romantic soul, however, came from a different place entirely.
When you are a guy who is not conventionally handsome, not given to joking about intimacy, whose musical ability remains unknown to the public, and who is actually quite reserved and not remotely desperate for fame, how do you become the lord of bedroom soul? When you are, to use a sporting term, a big unit, yet highly romantic and sincerely passionate, how do you convince an audience to take you seriously as creator of sultry grooves to fuel the population boom?
The answer is: you stay dignified. You make damn fine soul music. And you express your vulnerability in song. Look at me, you say. I am a big, strong fella, but my desire for you has brought me to my knees. This is a feeling any lover could understand. This is a message to make female fans swoon. This is the magic of the truly great Barry White, the most underrated of all of the icons of African-American music.
Listen to the best of Barry White on Apple Musicand Spotify.
Love coming on
Barry White may have been a lover, but he was also a fighter. Born on September 12, 1944, he grew up on the streets of South Central Los Angeles, and while he could play the piano and sing from a young age, Barry’s teenage years were marked by crime and violence. His 1980 studio album by Barry Manilow Barry is the seventh studio album released by American singer and songwriter Barry Manilow in 1980 on Arista Records. The album was certified Platinum in the US by the RIAA. The tracks were recorded at Evergreen Recording Studios in Burbank, California. Manilow co-wrote with Maurice White of Earth, Wind & Fire the album track "Only in Chicago". "We Still Have Time" was taken from the film Tribute. The album scored one top ten pop hit, "I Made It Through the Rain", which reached number ten, in early 1981. Although "I Made It Through the Rain" was his only Top-10 on the Hot 100 from this album, he managed to reach the Top-10 on the Adult-Contemporary lists with "Lonely Together" and the bouncy up-tempo "Bermuda Triangle" was a Top-20 hit in the UK in mid-1981. The album has yet to be released on CD in the US, but has had a CD release in Japan. It is however available as a digital download. Joe Viglione of AllMusic, in a 3 out of 5 star retrospective review, called the album "an interesting piece of the Manilow collection, the singer covering Kenny Nolan, co-writing with Maurice White, penning a song for another film -- "We Still Have Time" from the motion picture Tribute -- and including a campy duet with Lily Tomlin."Stephen Holden of The New York Times wrote that "Barry, Mr. Manilow's newest album, isn't as lively as some of his earlier work, but it's pleasant enough. Mr. Manilow's forte remains the mini-aria arranged like an elaborate jingle." 1996 single by Tina Turner and Barry White For the similarly titled Moody Blues song, see Your Wildest Dreams. "In Your Wildest Dreams" is a duet by American singers Tina Turner and Barry White, released from Turner's ninth solo studio album, Wildest Dreams (1996). The original European album version features spoken vocals by actor Antonio Banderas, while for the single version and US edition of the Wildest Dreams album, Turner re-recorded the track with White. Released in October 1996, "In Your Wildest Dreams" was the seventh and final single released from the album and was issued in a wide range of formats and versions; the promo 12-inch singles featured remixes by, among others, Deep Dish and Pink Noise. Certain European CD singles also included two live recordings from the Wildest Dreams Tour, "Missing You" and "GoldenEye". While the song failed to chart on the US BillboardHot 100, peaking at number one on the BillboardBubbling Under Hot 100, it found more success abroad, reaching number two in Austria and charting within the top 40 in Flanders, Germany, New Zealand, Norway, and the United Kingdom. The version of "In Your Wildest Dreams" featuring Antonio Banderas was included on Turner's 2004 hits compilation All the Best. Larry Flick from Billboard remarked that the duet "pits her feline purr against White's seductive growl on top of a slow and shuffling funk groove." He also noted that the single features Turner's duet with Antonio Banderas, saying, "This version is actually a bit sexier, riddled with ear-grabbing electro-pop riffs. Check out both versions and pick your fave." A reviewer from Music Week rated the song three out of five, adding that "the presence of White's deep, seductive vocals entices Turner into her most soulful effort for ages, but it cannot cover up the shortcomings of the song." The American music video for the s Barry (album)
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In Your Wildest Dreams (song)
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