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The original "bad girl" of rock & roll, Ronnie Spector, returned to BB King's last night to spread Christmas cheer to a full and very appreciative crowd. At 71, she still has the voice of an adolescent; forever the lead singer of the '60s girl group, The Ronettes.
Amid some humorous patter as well as some bitter memories of ex-hubby Phil Spector, Ronnie's show mixed Christmas numbers with others from her long song book. Like Darlene Love (whom I will see on December 27), Ronnie's identified with the Christmas holiday as both artists were prominently featured on the 1963 Phil Spector Christmas album. That record was originally a failure because it was, unfortunately, released the day of the Kennedy assassination. However, re-released in the '70s, it gradually received its overdue recognition and its recordings have become a holiday staple.
In her concert this year, Ronnie sang "Frosty the Snowman" (sending wintry chills up our spines), "Sleigh Ride" and "I Saw Mommy Kissing Santa Claus," but also numbers from her Best Christmas Ever e.p. These included a cover of Frankie Lymon and the Teenagers' "It's Christmas Once Again" and the titular song.
Abetted by a dynamic band and back-up vocalists, the singer also served up classic Ronettes like "Baby, I Love You," "The Best Part of Breaking Up," "You Baby" and "Be My Baby." Oh, baby, baby, baby! She paid tribute to the late Amy Winehouse (a Ronnie fan) by singing "Back to Black," and delighted the house by covering The Carpenters' "Yesterday Once More" and John Lennon's "Happy Xmas (War Is Over)." She also did a few solo classics like "You Can't Wrap Your Arms Around a Memory."
My only criticism is that this show couldn't go on all night. It's a total holiday delight that Ronnie's been doing at BB King's since 1988, so don't miss her next year.
Oh, and by the way, Ronnie Bennett Spector Greenfield converted to Judaism decades ago.
Girls no more, these women still rock out! What a night it was at BB King's NYC!
Nine women took to the stage with a full orchestra (keyboards, guitars, sax, trumpets, percussion), a bevy of back-up girls and, against that full-volume background, belted out their songs as powerfully as ever in an electrifying evening of great music and memories. It wasn't just a night of nostalgia, however, but a reminder of what solid songwriting, arrangements, instrumentation and vibrant vocals are capable of. These women need no auto-tuning to say the very least. And they have long mastered the art of the diva hand gestures!
Barbara Harris of The Toys opened the act, still able to energetically shake a tail feather. She opened with the group's top-ten pop hit, "Attack," followed by "Can't Get Enough of You, Baby." Ms Harris explained this cult phenom was not a '60s hit for The Toys but was later one for ? and the Mysterians. Harris moved on, then, to "May My Heart Be Cast into Stone" before ending her set with The Toys' smash sensation, "Lover's Concerto."
Beverly Warren wonderfully took over lead vocal from the late Ellie Greenwich, whom she praised as "manager, mentor and friend." Her set included classics "What a Guy" and "He's the Kind of Boy You Can't Forget."
Described by the dj/announcer with the words "There's nothing scarier than a Catholic school girl from Brooklyn," Nanette Licari appeared to belt out "Whenever a Teenager Cries." What? No "Captain of the Ship"?! I was hoping Ms Reparata and the Delrons would do a little more.
But, no, we were off with Louise Murray of The Jaynettes, electrifying with "perhaps the first girl-group song," "Lonely Nights" (1955, recorded under the girl-group name The Hearts) before she got to the group's biggest hit in 1963, "Sally Go Round the Roses." This lovely, lanky woman, now age 74, appeared in eyeglasses, a shimmery flapper-style gown, giant daisy in her hair and chandelier earrings! What a voice!
Baby Washington performed "That's How Heartaches Are Made," Toni Wine mesmerized with her rendition of "A Groovy Kind of Love" (which she co-wrote with Carole Bayer Sager; a hit for The Mindbenders). Lillian Walker appeared in a sleek white gown with black-beaded design to deliver The Exciters' "Doo Wah Diddy Diddy," "He's Got the Power" and "Tell him."
Margaret Ross-Williams of The Cookies ("four fabulous girls who rocked the world," this Miss Ross said proudly) performed "I Never Dreamed," "Chains," "Don't Say Nothing Bad About My Baby" and "Baby Baby I Still Love You" (which was recorded by The Cookies under the name The Cinderellas).
The show culminated in the divine performance of the still soulful Ms Maxine Brown, her crimson pants suit as vibrant as her voice. She began with her self-penned classic, "Maybe It's All in My Mind." She continued with a couple of Carole King tunes, including Brown's hit, "Oh, No, Not My Baby."
For a finale, the other divas joined Maxine for the joyous, Cajun-styled soul-stomper, "Cuz of My Sin."
It was a packed house with an adoring audience. Multitudes of bouqets were handed to the divas whose voices were remarkably undiminished by time. Although many of the recorded versions of the songs ended in the classic pop fade-out, these live performances gave us boffo vocal endings all. It was pure heaven re-living this golden era of music at BB King's.
John Clemente, author of Girl Groups: Fabulous Females Who Rocked the World was in the audience, as pointed out by Margaret Ross-Williams. http://www.amazon.co.uk/Girl-Groups-Fabulous-Females-Rocked/dp/0873418166 It's now on my must-read list. Meanwhile, the nine women performing tonight certainly rocked my world. And more "girl"-power to them!
Disco is back big-time, to the point that it seems you can't avoid seeing a mirror ball at least once sometime during your day. Dj Buddy B feels he and this blog were in the vanguard of this revival. In March 2012, I interviewed Johnny Morgan about his disco bible, Disco: The Music, The Times, The Era, whichmade me realize there was something in the air because of its commercial success. (http://djbuddybeaverhausen.blogspot.com/2012/03/dj-buddy-bs-q-with-author-johnny-morgan.html). The coffee-table book, sumptuously illustrated, is still selling at Manhattan's gay general store, Rainbows & Triangles.
The back-to-disco diversion has positively glitter-balled into a movement. Manhattan clubs, like B. B. King's, have showcased disco artitsts; Michael Musto has a recurring Disco Night at 54 Below (the club beneath the old Studio 54); the new Resorts International casino in Flushing frequently books disco entertainers (The Village People; the upcoming First Ladies of Disco night) and, across the nation, clubs, bars and lounges are multiplying with classic disco night offerings. This phenomenon deserves closer inspection, but for now, let's focus on Bloomigdale's disco-themed windows on Lexington Avenue in Manhattan.
Coming out of the subway this morning, this first-class window design caught my eye. I feverishly snapped photos with my cell.
The window series highlights designer fashions sold at Bloomy's, with retro-progresso surroundings of undeniable dancefloor fabulousness.
Have a look at the photos below. And put on your favorite dance tunes for background music as you do. With disco, baby, style and ambience are everything!
In such strong voice, Melissa Manchester opened her set at B.B. King's New York last night with the song, "So Strong." She followed that first number with "Don't Let the Feeling End (theme from the film Ice Castles)," an Oscar-nominated song written by her friends, Marvin Hamlisch and Carol Bayer Sager, and a Billboard smash.
This was a good tiding, as I had just read the Clive Davis tell-all. He painted Melissa as an artist who wanted to promote her songwriting talent and disdained many of the songs Clive offered her and that, then, became radio hits for her. But Melissa treated us to most of her popular hits and so much more during this show.
In a sparkly black blouse-and-jacket ensemble over black slacks, Melissa tore through her popular catalogue with "Midnight Blue" (which she originally wrote for Dionne Warwick); "Just You and I;" "Come In from the Rain" on piano; the Grammy Award-winning (for Best Female Pop Vocal Performance) "You Should Hear How She Talks About You" ("Made me the queen of aerobics classes," the songbird snarked); "Don't Cry Out Loud" (written by Carol Bayer Sager and Peter Allen) was offered with a beautiful arrangement on Spanish guitar.
In a frighteningly karaoke-like moment of the night, MM did a duet with Barry Manilow -- who appeared on-screen! -- to Carole King's "You've Got a Friend." She kindly referred to her work with Manilow and Midler, for whom she was a Harlette. (She even appears in the Midler movie, For the Boys, as a back-up girl!)
Surprises of the night included a cover of The Ronettes' "Be My Baby" that was presented as a beautiful ballad not unlike the Ellie Greenwich recording; "Let's Face the Music and Dance" and "From This Moment On," prefaced by Melissa discussing teaching melody-driven music at UCLA; Rogers and Hammerstein's "Something Wonderful" (from The King and I); the Bermans' "The Way We Were;" and -- as her encore and tribute to Dusty Springfield (whose birthday was on show night) -- an impresive interpretation of "Son of a Preacher Man."
Other highlights of the evening included Melissa's powerhouse vocals on "I Know Who I Am," which she co-wrote, from Tyler Perry's For Colored Girls movie and "Beloved," backed by a magnificent recorded choir, from the singer's commitment to teach music to life-imprisoned women.
I met Melissa after the show, where she spoke more about her involvement with Valley State Prison for Women in Chowchilla, California. She is a doll! Plus, she was very conversationally engaged and kind, and just lovely to speak with.
Melissa was a Bistro Awards winner in 2012, appearing and performing at that ceremony with Marvin Hamlisch, who passed away shortly thereafter. I sat with Sherry Eaker, who produces The Bistros, unfortunately spilling a glass of wine on her. (At least it was pino, a white wine. But... oh boy, I'm such a klutz sometimes!)
We sat across from her friends, who ran into us on our way into the showroom from Lucille's bar across the floor. (It was Sherry's first visit there and she is such a Motown girl! She hated to leave the live band doing Motown faves. Always good to turn a friend on to something good.)
Her friends, it turned out, were Broadway star Lee Roy Reams, and his significant other. Mr Reams has appeared in Sweet Charity! Oklahoma! Hello, Dolly! La Cage! The Producers! Yet, he was as sweet and dishy as anyone might imagine, and adored the show along with his partner.
On our way out, we ran into my friends Tony and Charlie! I joined them on the line to meet Melissa. What a great group of people! What a great show! And what a great star! Melissa from the Bronx, come back to NYC soon!
Helen Reddy arrived in New York with her five-man band, onstage at B. B. King's, with the exact same vocal range she had 40 years ago when she topped the charts, undiminished by time at a nimble 71 years of age. In a tunic-styled white blouse with black print, black slacks, and what appeared to be high-heeled sandals (plus a slight variation on her '70s hairdo), she captured our hearts from the start of her 90-minute performance.
Her first song, "The Stars Fell on California," received what seemed like non-stop applause. Ms Reddy seemed touched, giggling "I'm in New York!" She later allowed that, after tonight's show, she would be staying in NYC awhile to see shows and get together with friends. NYC hopes she will come back very soon to perform again... and to enjoy our town as much as our town enjoyed her tonight.
The star turned her back on show business a decade ago to become a psychoanalyst and motivational speaker in Australia. Last year, she sang at her half-sister's birthday party and thought, "That's not bad!" Thankfully, she was self-motivated to return to the stage.
When I told people I was going to see Helen Reddy, a few said, "I hope she sings 'Snowbird'." Errr..., well that was Anne Murray. Right decade, wrong diva. Helen did the song "Bluebird," however, as part of tonight's set.
"Anybody here who saw last night's show?" she asked. There was a raise of hands amongst the crowd. "Well," said the diva, "You're going to see the same show tonight."
Helen Reddy came from show-business parents which was evidenced in her soft shoe with bravado twirls and hand gestures borrowed from vaudeville days. She had an easy, breezy style. Her patter was clever and warm. She obviously felt no need to finish most songs with a belt, saving that for rare best effect but generally ending on a mellow note.
There were male cries of "fabulous!" at tonight's show, and Helen acknowledged her trans-generational gay fans. To one adoring fan, she said, "I like you! Are you married? Oh, you're married to him! Love makes the world go round!"
One song that the singer refused to do was "Leave Me Alone," though that request was shouted out near the show's end. "Oh, no," she replied, "How interesting is 'Leave me alone, I said leave me alone, leave me alone, leave me alone, I said leave me alone, leave me alone, I said leave me'...? Not brilliant songwriting."
Ms Reddy did, however, perform a satisfying medley of her hits, "Delta Dawn" and "No Way to Treat a Lady," and saved one of her best remembered numbers for her encore. "Here is a 40-year-old poem," she said, reciting: "I am woman, hear me roar, in numbers too big to ignore...." It was a striking moment to hear the well-known lyrics dramatically spoken as poetry before she segued into the entire anthemic number, "I Am Woman."
The psychoanalyst in her posited tonight's rendition of her hit, "Angie Baby," as a song left to interpretation and a possible aural Rorschach-test ending.
Ms Reddy's set also consisted of songs by Paul Williams, Don McLean and fellow Aussie, the late Peter Allen. From the musical, Cinderella Liberty, she sang "Nice to Be Around." Helen reminded us of her acting credits in the plays Blood Brothers (on Broadway, West End and in Australia) and Shirley Valentine. And she graced us with "I Am a Best Friend of Myself," a self-described "song of self-esteem" she penned as a Psych major at UCLA.
Helen Reddy's second encore was the lovely and closing-appropriate 1952 standard by Alan Brandt and Bob Haymes, "That's All." She left the stage in the roar and applause of a packed house. "Say it's me that you'll adore for now and ever more...." Helen, it looks like you've got that from your audience. Come back to us!
Below, a YouTube video of Helen Reddy at BB King's Saturday show:
I have seen Nona Hendryx (ex of the fabulous '70s group Labelle and the '60s Patti Labelle & the Bluebells) many times as a solo artist, but not for quite a while now, and I've missed her. So, I am extremely excited to see this phenomenal, unique singer this coming Saturday at B.B. King's in NYC!
"Keep It Confidential" was written by the late Ellie Greenwich ("Leader of the Pack") and I love it for its soulful new-wave '80s disco stylings. The Hot Tracks extended mix is brilliantly executed and perfect for the dancefloor. This is one of those numbers you feel you want never to end.
Darlene Love has an amazing voice and, come December, she has been amazing us each year in NYC, recently at BB King's. Yet, each show I go to, I find myself electrified and amazed all over again by her voice. Powerful, yet seemingly effortless, she is the Energizer Bunny of vocalists, spanning generations with a voice that not only keeps going and going and going, but actually seems to get better with time.
At tonight's show, Ms Love had a very special surprise. She generously shared the stage with her sister, Edna Wright.
Edna may best be known as the lead vocalist for the girl group, Honey Cone, from the early 1970s. Their hits included "Stick Up," "One Monkey Don't Stop No Show" and "Want Ads." Honey Cone recorded these hits in 1971, at a time when soul and girl group sounds were fusing into what was the nascent disco sound, which they certainly helped spearhead.
Darlene and sister Edna did a potent duet, covering "Hold On, I'm Coming," originally done by Sam & Dave. Eds was then left to her own devices as her big sister went offstage. She did "One Monkey" and "Want Ads," sandwiching a soulful version of "The Christmas Song" ("Chestnuts roasting...") betwixt those numbers.
Ms Love also amazed by looking trim and fit in black with sparkles, unbelievable for a woman around 70! She attributed her new figure to kickboxing classes. Sign me up! Her eyes brought back the "raccoon" look dramatically, and could help mascara sales immensely if they trend.
Love went through her Phil Spector hits, the "golden moldies" as she called them, knowing her fans insisted. But she belted out each number with total conviction and harnessed energy.
"He's a Rebel," "He's Sure the Boy I Love' and other 1960s numbers were put across in ways that may not have been fresh, but that recreated that Wall of Sound quality in a way her fans expect and associate her with. She had a few funny but not particularly kind asides about Spector, too. Of course, for the season, she included "Marshmallow World" and "Winter Wonderland," keeping the arrangements from the now-classic Wall of Sound album, Phil Spector's A Christmas Gift for You, in which she played a major part.
Love discussed how Spector had her lay down tracks for "River Deep, Mountain High." One day, she looked up into his recording booth and saw Tina Turner next to him. The rest of this story is history. Nonetheless, Ms Love's rendition is astounding. Below, see her performance of this on The David Letterman Show in 2007, to give you an idea.
For her cover of her friend, Dionne Warwick's, "Don't Make Me Over," the 2011 inductee into the Rock'n'Roll Hall of Fame steps up to the plate and makes it her own in a way few would be able to do. Finally, for her encore, Darlene does her Christmas perennial, "Christmas, Baby Please Come Home," from the Phil Spector Christmas album. It is a song she has been doing for 25 years on David Letterman. She has been in show biz twice that long.
Ms Darlene Love will appear on Letterman December 23rd.
