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Showing posts with label Dusty Springfield. Show all posts
Showing posts with label Dusty Springfield. Show all posts
When someone decides, in a British horror film, to go to a quaint village or a remote little UK island, you immediately know he or she is bound for trouble. Sinister things happen in those places, it would seem, especially when one is trying to recover after a traumatic incident.
In The Deadly Bees (1966), Suzanna Leigh, a very pretty and talented British actress who was quite popular in the US as well as abroad throughout the 1960s and '70s, portrays a very Dusty Springfield-like recording artist who suffers a nervous breakdown. Though this is a daily routine for me, Ms Leigh hopes to chill out on a quaint, isolated island village for a rest cure.
No sooner than you can say, "You in danger, girl!", our protagonist is plagued by the hives -- the kind with bees in them.
My friends, Tracey and Merv, are beekeepers. They have some rather sprawling property behind their Connecticut home and have become beekeepers. Maybe this film could give them a few ideas. I'll have to put the buzz in their ears.
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Amicus Productions made this film at Shepperton Studios in London. It was one of many films in the horror genre that they did, including Dr Terror's House of Horrors and Tales from the Crypt ~ the last two based on a compendium format originated in the UK by the classic Dead of Night (1945). They even produced a couple of Dr Who movies with the late, great Peter Cushing in the title role.
Amicus shared a lot of talent with Hammer Films, including Cushing, Christopher Lee and director Jimmy Sangster (who directed this film among many others for the studio). Frank Finlay co-stars in this one.
Robert Bloch (Psycho) wrote the screenplay based on a British novel. Special effects are tacky but fun. As an inside joke, there's a song by The Byrds on the soundtrack. (The Byrds and the bees, get it?)
The words "diva" and "icon" are completely apt for the late and legendary Dusty Springfield. The other day, in Barnes & Noble, I was on a mission to find a film on dvd when, from the corner of my eye, I spotted the dvd Dusty Springfield: Once Upon a Time 1964-1969, part of Voyage Digital Media's "British Invasion" series (even though Ms Springfield's success pre-dates the popl British Invasion). I had to have it!
This is an amazing video with 20 complete performances strung together by newly discovered archival interviews, plus talking heads Burt Bacharach, Madeline Bell and Simon Bell. Released in 2010, it contains a bonus of the performances without the interviews but with four songs added. And the dvd and blu-ray come with a 24-page book of liner notes and rare images.
Included on the video are Dusty's performances of classics like "I Only Want to Be With You," "Stay Awhile," "Wishin' and Hopin'," "I Just Don't Know What to Do with Myself," "The Look of Love," "Son of a Preacher Man" and covers of "Mockingbird" and "Dancing in the Streets," and many others.
Outstanding job of remastering as most of the images are pristine and flawless, as is the sound quality.
Bob Esty is truly a legend in his own time. A producer, songwriter
and arranger who worked with Casablanca Records from 1977 to 1980, he
has collaborated alongside major divas like Donna Summer, Cher, Barbra
Streisand, Martha Wash, Raquel Welch and many more. It is my sincerest
pleasure to have spoken with Bob over the phone when he generously
consented to give me the following, exclusive interview. I have divided
it into parts for easier reader consumption and digestion because it is
such a delicious treat.
In the 4th and final part of this interview which, again, it was a great privilege for me to conduct, our discussion involves Billy Preston, Whitney Houston, The Weather Girls, Paul Jabara, The Day of the Locusts, Dusty Springfield, Lesley Gore, Cher, Barbra, Michelle Aller, Sally Kellerman, Scott Snapp and more.
Bob Esty: We [Bob and Paul Jabara] wrote a song for The Weather Girls called "Success" about the fact that even though "It's Raining Men" is a success, it's not really. We used every trick in the book when we did this song and I did the track along with "Hope" [for the 1982 album, Success, that also includes the disco classics,
"Dear Santa (Send Me a Man for Christmas)," "I'm Gonna Wash That Man
Right Outta My Hair" and "Hungry for Love"], a song I previously did with Billy Preston.
In 1981, Paul put out"Hope" and "It's Raining Men" by The Weather Girls on the Paul Jabara & Friends album. It also had Whitney Houston's breakthrough track on that album ["Eternal Love"].
Dj Buddy Beaverhausen: And to think, throughout the '80s and '90s, people were declaring Disco was dead!
BE: Ha! Exactly! When Paul's album was being made, I also told him that record stores would put it in a "Compilations" bin and nobody would notice "Hope" was on it.
DJBB: I read that, in 1977, you and writing partner Michelle Aller wrote "I Found Love with You" for Dusty Springfield, and that you opened at The Troubadour for Lesley Gore.
BE: Yes, Michelle and I opened for Lesley and we had a band. I don't know how we got that gig! I never saw Lesley Gore perform live before, but I loved her. I didn't know Dusty Springfield was in the audience. Anyhow, her producer of the It Begins Again album, Roy Thomas Baker, contacted us and said, "Dusty really loved your song. Do you want to record it with her?" I got to arrange and orchestrate the whole thing. And I just loved working with Dusty! And Michelle and I sang in the backgrounds with Dusty. And that was the first time we had one of our original songs recorded.
DJBB: The rumors are that Dusty Springfield was often difficult to work with. Not just rumors but it's been reported by others who have worked with her and was dramatized in the play I saw last year in New York, Forever Dusty.
BE: Dusty? Well, not for me. For me, she was great. Incidentally, Michael Childers did the photography for It Begins Again, and was the lover of [director] John Schlesinger. And that's when I met Schlesinger because I did an arrangement of "Hot Voodoo" for the movie, The Day of the Locusts. And that number was performed by Paul Jabara in drag.
DJBB: I love that moment in the movie! And what a great, underrated movie that is!
BE: Right? Yeah, it was, and I went to the filming of Paul's sequence.
DJBB: And sequins?
[Bob laughs.]
BE: Michael Childers now does a self-tribute photography show in Palm Springs called "One Night Only" with many artists from LA and NYC, and this year it included the music of Michael's friends including Paul Jabara. Unfortunately, I couldn't make it.
DJBB: Bob, when Donna Summer died, was that just as much a shock to you as to the general public? Or did you know she was ill at the time?
BE: No, I had no idea. Patti Brooks knew from the nurses in the hospital Donna was in. But it was a shock. It happened so fast! And she kept it secret from everyone.
DJBB: Cher is our new Pier Dance Diva for NYC Pride. You were the one who set her on her disco path, making her the dance diva she is today once you produced her ultra-successful and legendary "Take Me Home." How did that all come about? Up to that time, she was really not a Disco girl.
BE: I met her in a bungalo with my leg in a cast. I'd just broke my leg at the New York Disco Convention that year. She was just the "regular" Cher; no make-up. But to really talk about Cher, we'd have to do another blog piece.
DJBB: Streisand. What was it like making the disco smash "The Main Event" with her, and was it intimidating to work with her?
BE: Well, that would be something we'd need to devote another blog piece to, also. I can't go into that quickly.
DJBB: Bob, just one more question before we wrap this up: What would we find on Bob Esty's turntable, iPod or cd player today? What are the songs you most recently listen to?
BE: When you produce and do recordings, there's a tendency to not want to listen to anyone else. And now, especially because of Facebook, in order to post things, I have to re-listen to so many things I've done. Glenn Rivera and Jandry: these guys do such a great job of remixing! And I've helped Jandry on some of his medleys. Also love Jandry's artwork and posters.
DJBB: I love what those guys have done, too, all around.
BE: Yeah, amazing! And now I'm working with Sally Kellerman and Scott Snapp. Sally's been performing in L.A. and Palm Springs and has her book out now, Read My Lips. Plus, I'm working on a remastering of Ava Cherry's Streetcar Named Desire album.
DJBB: Bob, all good things must come to an end, and I just want to thank you a lot for your time and participation. Thanks so much for this interview. It meant so much to me to be able to ask you the questions about your career I've always wanted to know. I'm sure it means a lot to the readers of my blog and others on the Internet.
BE: Yes, certainly. Thank you.
DJBB: And thank you for commenting on my blog and Facebook. Most appreciate it.
BE: Sometimes I can't comment on the blog when I want. Don't know why, but....
DJBB: Believe me, they don't make it user-friendly. Bob, thanks ever so much for everything! And have a good night.
BE: Ah, a night off! Thank you, and to you, too.
***
Below, the disco classic disco hit written by Bob and Michelle Aller takes this interview home. But we'll be hearing more about Cher -- and Babs -- soon. Exclusively from Bob Esty!
Today, I went to New World Stages on West 50th Street, at Worldwide Plaza, to see the jukebox musical, Forever Dusty. There are a number of good biographies about Ms Springfield (nee Mary O'Brien) out there and, if you've read any of them, you'll realize how the script for this show (whose star co-wrote its book) falls short in many ways. The production seems to be aware of this shortcoming as a note included in the Playbill states: "[H]ow do we tell you this story when there's so much to tell?.... [T]he characters have been composited from multiple people in Dusty's life or invented altogether." Not unusual for turning life into art. But, my God, some of the capsulization is unusually crude. ("Dusty! It's Apartheid!")
Still, can I tell you that, on a visceral level, I absolutely loved this show despite its flaws. (Enough to buy both a cap and fridge magnets for my collections.)
It's a solid production. Songs from Dusty's catalog are nicely matched up with her biographical moments as projected background images assist the minimal set design and move the story along.
Kirsten Holly Smith received a 2006 arts grant from University of Southern California to develop this show and has taken it to NYC cabaret, then on to legit theater. While not "becoming" her character the way Tracie Bennett "became" Judy Garland in End of the Rainbow on the West End and, earlier this year, on the Great White Way, Ms Smith's powerful pipes put Dusty's songs across in a manner that is emotionally faithful and impressionistic.
The musical's song list is flawless in choosing highlights from Dusty's career. And this is the core of this jukebox musical's appeal. The very well attended matinee audience of a certain age, of which I was a part, was enthusiastic, clapping, on their feet, upbeat, supportive, interactive.
"You Don't Have to Say You Love Me," "Wishin' and Hopin'," "The Look of Love," "What Have I Done to Deserve This?" (number one with the Pet Shop Boys), and other Dusty songs were beautifully and dynamically presented to much applause and cries of "bravo" today.
The play begins in media res with Dusty being difficult while recording "Son of a Preacher Man" with producer Jerry Wexler. It is a pivotal point in her career before her decline on the pop charts and, personally, into the pills-and-booze period preceding heroin abuse. (The diva's harrowing descent into her private hell is actually given a Disney treatment in this play.)
The tragic end to this story is that Ms Springfield defeated her demons, returned as a star playing Royal Albert Hall, only to discover, during the glory of her comeback, that she had incurable cancer.
Forever Dusty's three-piece band is nothing short of wonderful. So are the cleverly modest sets, lighting, certainly the costume design (fabulous Dusty gowns), musical diection and sound design. Production, overall, is far from shabby.
The cast of five (many of whom, outside the star, assay multiple roles) is just great. Special kudos for belting, sometimes scene-stealing, Christina Sajous.
Shy Mary O'brien created a larger-than-life alter ego as Dusty Springfield. Charles Truenski and Dj Buddy Beaverhausen can relate, of course.
Debby Harry & Ronnie Spector at the premiere of "Forever Dusty"
As I left the theater, I looked down from the New World Stages' theatrical multiplex's balcony, at Kirsten Holly Smith autographing Playbills for her lined-up fans, still in her Dusty wig and gown. A star, I felt, is re-born!
Here's the real Dusty in a song that was a big crowd-pleaser in Forever Dusty:
A nice little groove for Saturday night with Dusty Springfield in jazzy bossa nova mode. Seems she has a spooky little boyfriend right in time for Halloween.
It don't mean a thing if it ain't got that trick-or-treat swing. Here are England's fabulous Puppini Sisters with a cover of "Spooky," originally made popular by Dusty Springfield. The music video (which I'd never seen before) is aimed squarely at the Happy-Halloween set as the original release of this single in the UK was timed to coincide with the season. Happy listening; now, have some pumpkin pie and go cut a rug!
