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The Bert Berns Story’ Doc Headed to Apple Music (Variety) “BANG! The Bert Berns Story” the documentary about “Twist and Shout” songwriter, producer and label pioneer Bert Berns and the music industry’s early entanglements with. Jun 23, 2017 - Bang! The Bert Berns Story 2016 download torrent. The Bert Berns Story 2016. 12 Seeds 40 Peers. The Bert Berns Story compares favorably to The Terry Kath Experience (FilmRise, 2017), not just in the elevated quality of its conception and execution, but in its authorship by an offspring of the subject. Just as the Chicago guitarist's daughter, Michelle Sinclair, helmed the documentary she.

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• The Bert Berns Story 2017 Full Online Movie You never heard of Bert Berns, but you know the rest he recorded songs and production: Twist Cry, Cry on Me, Tell, Piece of My Heart, Cry Baby, Hang On Sloopy, I Want Candy, A everyone needs to Someone to Love – Rock and Roll’S Berns worked.
• The second volume of THE BERT BERNS STORY will focus primarily on the music he produced for his own record labels, Bang and Shout, where Van Morrison and Neil Diamond made some of their best work. The triumphs associated with running his own outfit, however, would come at a heavy price, as the stress associated with this success began to weigh.

BANG! The Bert Berns Story
Abramorama
2018
BANG! The Bert Berns Story compares favorably to The Terry Kath Experience (FilmRise, 2017), not just in the elevated quality of its conception and execution, but in its authorship by an offspring of the subject. Just as the '>Chicago guitarist's daughter, Michelle Sinclair, helmed the documentary she produced and directed in homage to her late father, this feature is the result of exhaustive research and collation by the late songwriter/producer's son Brett and the story it tells is as vivid a depiction of the music business as the pivotal, but unfortunately still somewhat unsung figure who toiled within it.
Eight years in the making with Bob Sarles, Emmy-nominated film and television editor, producer and director, such labors of love as BANG! aren't usually so objective. But the younger Berns' broadminded and thorough approach not only creates a propulsive main narrative, but also results in an hour of additional content on DVD, the products of which not only belie the cheesy graphic design of the cover art, but superficial preconceptions a viewer may bring to the subject of this film. In the end, The Bert Berns Story deserves to be regarded as a valuable historical document, worth preserving for posterity, precisely because the serious and empathetic approach of all those contributing to it lends prestige to an important figure in the contemporary music business of the Fifties and Sixties. As a result, the documentary should grow in importance over time.
There's a wondrous sense of discovery in the tone of voice (Little) Steven Van Zandt brings to his narration (written by journalist and author Joel Selvin) . It's as if if he's learning in the moment(s) he speaks of all the varying and sometimes conflicting facets of this man and his tales of creativity and in some cases, conniving with self-avowed avowed organized crime fixtures like Carmine 'Wassel' DeNoia. The business operations involving such unsavory characters come to predominate the film's themes as the story of Bert Berns' success unfolds: his hit-making savvy grows so lucrative, he goes into business with the principals of Atlantic Records and founds his own label, Bang Records, an achievement rendered all the more remarkable because the man consciously avoided repeating himself in either the r&b or pop/rock idioms.
Accentuated by the sounds of an original score from keyboardist/composer Barry Goldberg (

Bang The Bert Berns Story Dvd

'>Bob Dylan, '>Michael Bloomfield), the pace of The Bert Berns Story, as written by Christina Keating, never moves so fast as during the account of the instantaneous success of the aforementioned enterprise established in conjunction with Jerry Wexler, Ahmet and Nesuhi Ertegun. And The Strangeloves' 'I Want Candy,' along with the McCoys' 'Hang On Sloopy' (competition for which arises from another release of the tune, then mysteriously disappears) even prefaces Neil Diamond's emergence as a recording artist. In a foreshadowing of both personal and professional downturns, fallout from that discovery is a harbinger of the fracture in Berns' relationship with his long-time mentors and, not surprisingly, this point where commerce supersedes creativity, thus exacerbating Bert's life-long health problems.
The man's sudden death at the age of thirty-eight would seem to compel an inevitably abrupt end to Bang!. Yet it's a nominal shortfall on filmmaker Brett's part that he doesn't make more of the last hit on which his father collaborated, Erma Franklin's 'Piece of My Heart:' particularly as the song co-written with Jerry Ragovoy becomes even more famous through the voice of '>Janis Joplin (whose recording with '>Big Band Brothers plays over the credits), Bert's offspring would've done well to link that sequence of events with the similar circumstances surrounding '>The Beatles' cover of 'Twist and Shout.' More such emphasis on this watershed event in Bert Berns' career would impart additional logic and continuity to this film and likely as not eradicate a sense of hurry all too palpable in the final interview segments, including those with '>Paul McCartney and '>Keith Richards.

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When Paul McCartney indicates that Bert Berns must be elevated in the pantheon of music business executives, it is worth pausing. When Van Morrison, Keith Richards and Solomon Burke join the chorus, you know a compelling documentary is on offer.

Such is the case of “BANG! The Bert Berns Story.” Lovingly assembled by his son Brett, this superb documentary sheds light on a shadowy figure who had an outsize influence on the early days of rock and roll. The film is currently on the film festival circuit.

I had a sketchy understanding of his story, but I was blown away at the variety of artists with whom Bert Berns worked. I was also fascinated by the scope of his acquaintances. Not only was he side by side with icons who mostly sat behind the recording console (Phil Spector, Jerry Wexler, the Ertegun brothers), Berns wrote pseudonymously many huge hits. And proving that Little Stevie Van Zandt is the perfect narrator for this film, Berns also was pals with some mob characters.

An early story is the fascinating path of the song “Twist and Shout.” Ronald Isley discusses how he and his brothers stumbled into making the song a massive hit with significant creative input from Berns, and later Macca picks up the story about his fellow Liverpudlians taking the song to launch their career. The bassist admits he always thought the song was written by the Isleys, but it is one of many penned by Berns.

Indeed, the convoluted business of music publishing and songwriting credits is woven throughout the film. Although not mentioned in the film, lawsuits abound to this day about the black magic aspect of the music publishing. Mary tyler moore theme song download. Berns wrote songs under various names, but his talent was discovering the key attributes of a song or artist.

Solomon Burke, the giant (in all respects) RnB singer, praises Berns for bringing forth the best possible arrangement for “Cry To Me.” Keef picks up the thread in discussing how the Stones adored Burke and Berns; the band’s early cover of “Everybody Needs Somebody to Love” accelerated their career. Indeed, Jerry Wexler inserted himself into the songwriters’ credit, undoubtedly to the eventual consternation of the then-green Burke and Berns.

Wexler played a father figure to Berns through most of the latter’s career, giving him his professional start and becoming best man at Berns’ wedding. As explained by Ilene Berns, her husband Bert almost turned a blind eye when Wexler unethically wanted to usurp control of the label Berns had built.

That label was BANG. I had always though the name came from the music business idea of a record exploding into success, but it was actually an acronym for Bert, Ahmet, Nesuhi and Gerald. The story of the label’s first hit “I Want Candy” is hilarious. The song was a simple Bo Diddley riff, but when Berns heard it he added the right melodic flair. He also penned lyrics inspired by the racy Terry Southern novel called “Candy.” Even better, the band never really existed, it was the three songwriters who goofily performed as the Strangeloves, with a set of purloined jungle drums. When they needed a backup band, the hired a group of teenagers “who fought like the Hatfields and the McCoys.” The producers liked the latter name, and liked their 16 year old guitarist even better. Rick Derringer would go on to further fame and fortune, but his first hit was the riff on “I Want Candy” and then another compelling solo on the McCoys’ “Hang on Sloopy.”

The documentary is rich with music, often a challenge but mandatory in films of this sort. (The brilliant film “The Wrecking Crew” was derailed for too long in music clearance purgatory). In that Berns penned many of the tracks in the documentary and nearly every artist was happy to speak fondly of him, the film is rich with music. Notably absent are original tracks from one of BANG’s first signings, Neil Diamond. The reasons become clear as the film progresses.

A happier participant is the reclusive and camera-shy Van Morrison. It brings quite a smile to watch him describe how the song “Brown Eyed Girl” came together at the direction of Berns. Berns had been to England earlier, he was the first American record producer to work in the UK. Early gems by The Animals and more notably Them were the result. The latter (“Here Comes the Night”) was written and produced by Berns, and remains a staple in Morrison’s concert set list to this day.

Berns arranged for the shadowy music and mob legend named Wessel to manage Morrison when the latter moved from Belfast to NYC. Wessel put up Morrison in a cheap hotel across the hall from wrestler Haystacks Calhoun, which are two names I never thought I’d put in the same sentence. Wessel gets much camera time in the documentary, and is just about everything you’d want if you ever enjoyed “The Godfather,” “Good Fellas,” “A Bronx Tale” or “Sopranos.”

The mobbed up Morris Levy also makes an appearance, further evidencing the murky overlap of the music and mob businesses in NYC in the 1960s.

Jerry Wexler (left) Bert Berns in happier times.

Randolph

The depth and breadth of Berns’ influence is made obvious by the end of the film. Also clear in retrospect is his recurring lyrical themes about crying and the heart. He lived his life from age 16 with the awareness that a heart defect would make life precarious. (His mother was against his marriage to the vivacious former go-go dancer Ilene for that reason).

Berns died on a wintry December 30, 1967 at age 38. He was told he would not live past 21.

The documentary closes with a poignant analysis of his most personal song “Piece of my Heart.”

Never mentioned in the film, but certainly proven, is the adage that writers should write about what they know.

'>

When Paul McCartney indicates that Bert Berns must be elevated in the pantheon of music business executives, it is worth pausing. When Van Morrison, Keith Richards and Solomon Burke join the chorus, you know a compelling documentary is on offer.

Such is the case of “BANG! The Bert Berns Story.” Lovingly assembled by his son Brett, this superb documentary sheds light on a shadowy figure who had an outsize influence on the early days of rock and roll. The film is currently on the film festival circuit.

I had a sketchy understanding of his story, but I was blown away at the variety of artists with whom Bert Berns worked. I was also fascinated by the scope of his acquaintances. Not only was he side by side with icons who mostly sat behind the recording console (Phil Spector, Jerry Wexler, the Ertegun brothers), Berns wrote pseudonymously many huge hits. And proving that Little Stevie Van Zandt is the perfect narrator for this film, Berns also was pals with some mob characters.

An early story is the fascinating path of the song “Twist and Shout.” Ronald Isley discusses how he and his brothers stumbled into making the song a massive hit with significant creative input from Berns, and later Macca picks up the story about his fellow Liverpudlians taking the song to launch their career. The bassist admits he always thought the song was written by the Isleys, but it is one of many penned by Berns.

Indeed, the convoluted business of music publishing and songwriting credits is woven throughout the film. Although not mentioned in the film, lawsuits abound to this day about the black magic aspect of the music publishing. Berns wrote songs under various names, but his talent was discovering the key attributes of a song or artist.

Solomon Burke, the giant (in all respects) RnB singer, praises Berns for bringing forth the best possible arrangement for “Cry To Me.” Keef picks up the thread in discussing how the Stones adored Burke and Berns; the band’s early cover of “Everybody Needs Somebody to Love” accelerated their career. Indeed, Jerry Wexler inserted himself into the songwriters’ credit, undoubtedly to the eventual consternation of the then-green Burke and Berns.

Wexler played a father figure to Berns through most of the latter’s career, giving him his professional start and becoming best man at Berns’ wedding. As explained by Ilene Berns, her husband Bert almost turned a blind eye when Wexler unethically wanted to usurp control of the label Berns had built.

That label was BANG. I had always though the name came from the music business idea of a record exploding into success, but it was actually an acronym for Bert, Ahmet, Nesuhi and Gerald. The story of the label’s first hit “I Want Candy” is hilarious. The song was a simple Bo Diddley riff, but when Berns heard it he added the right melodic flair. He also penned lyrics inspired by the racy Terry Southern novel called “Candy.” Even better, the band never really existed, it was the three songwriters who goofily performed as the Strangeloves, with a set of purloined jungle drums. When they needed a backup band, the hired a group of teenagers “who fought like the Hatfields and the McCoys.” The producers liked the latter name, and liked their 16 year old guitarist even better. Rick Derringer would go on to further fame and fortune, but his first hit was the riff on “I Want Candy” and then another compelling solo on the McCoys’ “Hang on Sloopy.”

The documentary is rich with music, often a challenge but mandatory in films of this sort. (The brilliant film “The Wrecking Crew” was derailed for too long in music clearance purgatory). In that Berns penned many of the tracks in the documentary and nearly every artist was happy to speak fondly of him, the film is rich with music. Notably absent are original tracks from one of BANG’s first signings, Neil Diamond. The reasons become clear as the film progresses.

A happier participant is the reclusive and camera-shy Van Morrison. It brings quite a smile to watch him describe how the song “Brown Eyed Girl” came together at the direction of Berns. Berns had been to England earlier, he was the first American record producer to work in the UK. Early gems by The Animals and more notably Them were the result. The latter (“Here Comes the Night”) was written and produced by Berns, and remains a staple in Morrison’s concert set list to this day.

Berns arranged for the shadowy music and mob legend named Wessel to manage Morrison when the latter moved from Belfast to NYC. Wessel put up Morrison in a cheap hotel across the hall from wrestler Haystacks Calhoun, which are two names I never thought I’d put in the same sentence. Wessel gets much camera time in the documentary, and is just about everything you’d want if you ever enjoyed “The Godfather,” “Good Fellas,” “A Bronx Tale” or “Sopranos.”

The mobbed up Morris Levy also makes an appearance, further evidencing the murky overlap of the music and mob businesses in NYC in the 1960s.

Jerry Wexler (left) Bert Berns in happier times.

Randolph

The depth and breadth of Berns’ influence is made obvious by the end of the film. Also clear in retrospect is his recurring lyrical themes about crying and the heart. He lived his life from age 16 with the awareness that a heart defect would make life precarious. (His mother was against his marriage to the vivacious former go-go dancer Ilene for that reason).

Bang Bert Berns Documentary

Berns died on a wintry December 30, 1967 at age 38. He was told he would not live past 21.

Bang The Bert Berns Story Torrent Download

The documentary closes with a poignant analysis of his most personal song “Piece of my Heart.”

The Bert Berns Story

Never mentioned in the film, but certainly proven, is the adage that writers should write about what they know.