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Hard to believe but by 1972, at the young age of 31, Lesley Gore -- one of the great pop music hitmakers of the 1960s -- was considered a has-been by the recording industry. She returned that year with this blue-eyed soul/folk album but, at the time, Someplace Else Now was not a hit by any means. It was released by Motown on vinyl.
The rare existing records now sell for hundreds of dollars on-line. In mid-August of this year, Real Gone Music released Someplace Else Now for the first time on cd and MP3.
Ms Gore wrote or co-wrote all the tracks on this album. Her co-writers were her brother Michael (with whom she'd later write an Oscar-nominated song for the movie Fame, "Out Here on My Own") and, mostly, Ellen Weston).
When Ms Gore left us this past February, a great talent was lost. She was a trailblazer. "You Don't Own Me" was a revolutionary proto-feminist anthem that is still covered to this day. She was a major influence on the '60s girl-group sound and a major recording, radio and stage star. She later became an "out" icon, supporting LGBT rights.
In the wonderful Allison Anders film, Grace of My Heart (1996), Bridget Fonda plays a closeted '60s pop star based on Lesley who actually co-wrote this song:
I saw her twice, the last time at the Girl Power concert at Lincoln Center's Damrosch Park. I met her once, almost ten years earlier after a show at Joe's Pub in NYC. She was extremely gracious and charming, and we chatted briefly about her career.
Someplace Else Now is a very good album and I recommend this to fans of the singer. It showcases a very different side to Ms Gore, as the title might suggest. This was the single that was released in '72:
After the brief introductory song "For Me," Lesley launches into the power ballad "The Road I Walk" and follows that with the Shirley Bassey-like "Out of Love."
"Don't Want to Be One" is a gentle throwback to her '60s work with a slight samba beat added. "What Did I Do Wrong?" is another great ballad but it might have benefitted by a more uptempo arrangement in her '60s style.
The title track, with an opening, simple guitar accompaniment that grows with orchestra and chorus is a beauty and perhaps my favorite. "Mine" is another gorgeous number with a burgeoning orchestral and choral development.
Overall. a compositional beauty and a good album. But, listening to this, I miss the Lesley from her more pop Sixties days. A little more pizzazz would have been the icing on the cake.
What a wonderful night it was indeed as 54 Celebrates Lesley Gore rocked the packed house at the swank, underground nightclub, 54 Below. The show not only highlighted Ms Gore's hits as well as her lesser known numbers, but it did it all in grand style. My friend, singer Ron Giles, was my guest and he was at times, moved to tears. At one point, he danced in the aisle -- and who but Sarah Dash of LaBelle got up to dance with him, lucky guy.
The line-up of talent for this event was amazing! The Marvelettes, Sarah, Lorraine Ferro, Molly Pope, Maxine Linehan, Jill Abramovitz, Lorinda Kisitza, Gabrielle Stravelli. It was a pleasure to meet some of these ladies after the show.
Tracy Stark's musical direction was assured throughout. The show opened with the upbeat but little-heard "Mama I'm a Rocker," with Lorinda on vocals followed by the pop hit "Maybe I Know," sung by Gabrielle. The crowd immediately caught Lesley Gore Fever!
This was a show where, frankly, every interpretation was a highlight, really. But I must single out The Marvelettes, whose original vocalist, Denise, was quite the raconteur. What a voice this lady possesses! And her fellow vocalists are far from slouches as they covered "Look of Love" and belted out the final song, "It's My Party."
News of the night was distinctly Tracy Stark's announcement that she has a forthcoming album of her own featuring varied vocalists -- including Lesley Gore.
It was wonderful to hear faves like "Sunshine, Lollipops and Rainbows," the "Run, Bobby, Run/Off and Running" medley, "She's a Fool," Judy's Turn to Cry," the Oscar-nominated "Out Here on My Own" (written by Lesley with her brother Michael for the movie Fame)
Kudos to all. And that includes the staff at 54, prompt, polite and attentive service as always. This show was a treasure and an event I will remember and cherish a lifetime.
I had already approached Ms Stark about doing a Q&A with regards to her forthcoming Lesley Gore show at 54 Below. At the tme, the performers list had yet to come together, so we postponed it. Well. it developed into quite an interesting ensemble and I look forward to the show. Here, then, is our conversation. The shows are tonight at 7 and 9 pm. I met Ms Stark in person for the first time when she was musical director in April for Gretchen Reinhagen. Thank you so much, Tracy, and see you tonight.
Buddy Beaverhausen: Hello, Tracey, and thank you for doing this Q&A with me. You recently celebrated your birthday (another fellow Taurus; we're the best)! Did you do anything fun or exciting?
Tracy Stark: On my birthday, I did arrangements and band charts for this show! So, basically I worked on my birthday. But, I took a birthday nap!
BB: It was so nice to meet you at Gretchen Reinhagen's show last month and hope to be at 54 Below Wednesday night for the Lesley Gore tribute. I recently saw the line-up. Wow! How did you get The Marvelettes and Sarah Dash on-board?
TS: I met, and played with Denise Spann-Morgan, (who is in the "Marvelous" Marvelettes) some years ago. And, I've recently been doing shows with Sarah Dash. Both of those women are so talented and generous, and they eagerly agreed to hop on board.
BB: Was the show your idea from its original inception?
TS:Not at all. 54 Below does a whole series of shows, honoring various artists and shows. It's a wonderful series, and the shows are always extremely high quality. I'm actually not sure who had the original idea to do this tribute. Scott Coulter was asked to direct it, and he called me, because he knew I had worked with Lesley in the past. I said yes immediately, and I gathered some of the musicians I had worked with, when I worked with her.
BB: What was it about Ms Gore that attracted you to doing this show celebrating her music?
TS: I just really admired her as a strong, funny, down-to-earth human being. As a musician, she was so versatile. In her live shows, she'd do a lot of different styles of music - her hits, of course, but she'd also do rock, jazz, disco, etc. - and do them all extremely well. And, she wrote such incredible songs. I've been re-immersing myself in her music for this show, and finding an entirely new level of respect.
BB: Her birthday was May 2nd (another Taurus). Was it your idea to plan the show close to that date?
TS: I think it might have been a coincidence! You can ask the producers this question.
BB: When I last talked to you, you were just starting to put together the singers/cast for 54 Celebrates Lesley Gore. How did you choose the performers who will be in the show?"
TS: Sarah Dash and Denise Spann-Morgan had both known Lesley. And, they are both incredible vocalists. Lorraine Ferro had sung with Lesley for over 10 years. (Lesley had referred to Lorraine as "the best rock vocalist around" and I might be inclined to agree.) Some of the other vocalists, are people whom I just love. For example, I will take any opportunity to play music with Gabrielle Stravelli, and Molly Pope. Both Scott Coulter and I know and love a lot of the same vocalists, so there was a lot of agreement in our choices.
BB: You were Lesleyy's musical director. What are your favorite or most outstanding memories of her?
TS: My musical memories range from the sublime to the bizarre, mostly depending on whether we got to play with our own hand-picked musicians, or if we had to do 1-nighters with a local pick-up band, that was chosen for us, by the producers. Although, no matter what the quality (or lack thereof), the audience always had a great time. They were there to see Lesley, who was ALWAYS a superb performer.
BB: Your hometown is Philadelphia. What was growing up in Philly like?
TS: My best memories of Philadelphia, were of high school. I went to the Philadelphia Creative and Performing Arts. I was in the very 1st graduating class. At that time, the school was so new, there was not even a building for us. We were using 3 floors in the College of Art building. And, some of the classes took place in the hallway. So, you'd have people writing in 1 area, dancing in another, and you'd hear singing coming from the stairwell. It was such a great place to be, as a budding musician.
BB: What's the best part, for you, about being self-employed as an artist?
TS: Other than a couple of months of survival jobs in my 20's, making my living as a musician, is all I've known. The best part, is being able to be exactly who I am. I feel like this is what I was born to do. It is my own responsibility. Although, being self-employed absolutely has its difficulties. Most of the difficulties come because there are so many great vocalists I love to play with, that I end up with too much on my plate. That's when music meets stress.
BB Besides Ms Gore, who were the voices that most inspired you throughout your life?
TS Oh my god. I'm not sure I can answer this question without listing a thousand names...So, I'll just list the first few who influenced me as a teenager. Janis Ian was the first musician whose songs I analyzed within an inch of their existence. I knew every note, orchestration, lyric, and phrase of her first 7 or 8 albums. Of course, Joni Mitchell has to be on this list. Genius. Innovative. Poet. Inventor. Musician. Painter. She was the first artist for me, who had albums that were completely different genres from each other. Each song inspired me, and the fact that she could go from one genre to another, so effortlessly, was illuminating for me. Rickie Lee Jones inspired groove for me. Phoebe Snow has the most other-worldly voice, that I could not stop listening to.
According to Us magazine, Hunger Games' Jennifer Lawrence puked on the carpet at Madonna's Oscar night after-party. The American Hustle Best Supporting Actress nominee was so drunk by the time of that event, she retched right in public, the Oscar-winning song of the night, "Let It Go," perhaps influencing her. Miley Cyrus was passing by and snarked, "Pull it together, girl!" Hell, when Miley Cyrus tells you to pull it together, you know you're a hot mess.
No mention of who cleaned up the upchuck but it most probably was not Jennifer, Madge or Miley.
Disco diva France Joli, meanwhile, is now on Off-Broadway in the show, My Big
Gay Italian Funeral. Last year, the singer debuted in My Big Gay Italian Wedding. She performs her timeless hit "Come
To Me" in the show. I had the pleasure of interviewing France Joli last November: http://blabittobeaverhausen.blogspot.com/2013/11/dj-buddy-beaverhausen-comes-to-france.html
'60s diva Lesley Gore just celebrated her 68th birthday... and she still hasn't gotten over that damned party when Judy fooled around with Johnny. The girl-group era songbird still performs and enthralls with songs old and new. I saw her a few years back at Joe's Pub, where none other than iconic radio jockey Cousin Brucie (Bruce Morrow) was in the audience. Happy Birthday, Lesley Sue Goldstein! http://djbuddybeaverhausen.blogspot.com/2013/05/lesley-gore-its-her-birthday-and-shell.html
And rumor has it that silver screen divas Susan Sarandon and Jessica Lange were attached to make a cable tv-movie about the making of What Ever Happened to Baby Jane? with Sarandon as Bette Davis (because she has Bette Davis eyes) and Lange as co-star/rival Joan Crawford. The idea was pitched to HBO but was rejected. Hard to believe since both actresses were notably in previous HBO films, with Lange winning an Emmy for Grey Gardens.
Gray LeBlanc now has a Facebook petition page you can go to.
Welcome to my petition page for Jessica Lange & Susan Sarandon to
star in Ryan Murphy's ''The Making of...What Ever Happened to Baby
Jane.'' This was brought to HBO by Murphy and turned down. I have
written a lengthy email to the head of HBO programming, Michael Lombardo
(Michael.lombardo@hbo.com) on the matter. Lange has contributed GREATLY
to HBO with ''Grey Gardens.'' Sarandon has also contributed w/both
''Bernard and Doris'' and "You Don't Know Jack.'' It's a travesty for
HBO to pass on this script, with these ladies, at this point in
perspective their careers. They have both paved the way for fantastic
HBO movies past and future, and that's why this makes me sick!, writes LeBlanc on his Page.
You can visit it and be part of the grass-roots protest. I'm certain there'd be much interest in this project. I say, shop it around! After all, HBO isn't the only fish in the sea. https://www.facebook.com/groups/269238183246016/
I'll be back next week with more divas' dirty linen. Meanwhile, I wish all you diva worshippers a month of May as fabulous as the goddess of your choice!
The assassination of President Kennedy, 50 years ago on November 22, was the end of America's cultural innocence to a great extent. The Kennedy Camelot years, 1960-1963, also oversaw an era of big hair and small skirts and a kind of glamour of its own that emerged from the popular culture.
First Lady Jacqueline Bouvier Kennedy set the standard in haute couture. "Fashion, in the early 1960s [for many Americans], was seen as a preoccupation of the wealthy."
Valerie Steele, director and
chief curator of the Museum at the Fashion Institute of Technology explained. Pre-Jackie,"[m]ost Americans had a sort of knee-jerk reaction: fashion was elitist,
decadent. What she did was give a totally positive spin to
fashion."
After JFK's death, public interest remained very high regarding the fashionable ex-First Lady. During her post-White House years, she helped to make big, round sunglasses chic. In July 2013, Brie Dyas in Huffington Post reported (during what would have been Jackie's 84th birthday), "her name became a code word for a complete lifestyle. Having great
manners? Very Jackie Kennedy. Using candelabras at the dinner table?
That's very Jackie Kennedy, too.... When Jackie became First Lady, the public became enthralled with her
simple approach to clothing and beauty. She shepherded women out of the
tight waists, crinolines and overly styled hairdos of the 1950s and into
sleek shifts, pillbox hats and a more natural approach to makeup that
played up the eyes.
"Today, any store that makes its fortune in simple dressing -- we're looking at you, J.Crew -- should salute her."
Jackie wore a "flip" hairdo. Good girls in the Sixties wore flips. Lesley Gore wore a flip. Mary Tyler Moore wore a flip. Bad girls wore beehives, like The Ronettes and The Shangri-Las.
Mrs Kennedy was certainly a refreshing departure from the dowdy Mamie Eisenhower, and she set a standard for glamour that was embraced by First Ladies Nancy Reagan and Michelle Obama. Of course, most iconic is Jacqueline Kennedy's pink suit with pillbox hat that she wore to Dallas in November 1963. After the assassination, according to William Manchester’s The Death of a President, she was asked to “clean up her appearance,” but refused.
"No," the First Lady said, "Let them see what they have done."
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!
Dj Buddy Beaverhausen wishes a very Happy Birthday to fellow Taurean Lesley Gore, wishing her Sunshine, Lollipops and Rainbows for her special day on May 2!
Lesley was born in Brooklyn, as she proudly announced at the sensational "Girl Power" concert in Damrosch Park a couple of years ago (http://djbuddybeaverhausen.blogspot.com/2011/07/female-trouble.html ), though she grew up in Tenafly, NJ. She had her first hit with the '60s classic, "It's My Party" and followed that up with the popular sequel, "Judy's Turn to Cry."
Other hits include the prototypical feminist anthem "You Don't Own Me," which was # 2 for 3 weeks behind "I Want to Hold Your Hand" by the Beatles; "Maybe I Know;" "That's the Way Boys Are," "(Isn't That) The Look of Love," "California Nights" and more. Her songs, from 1963-'65, were all produced by Quincy Jones. "Sunshine, Lollipops and Rainbows," composed by Marvin Hamlisch, was Grammy-nominated. She also wrote, with her brother, Michael, the Oscar-nominated "Out Here on My Own" from the 1980 movie, Fame.
Lesley appeared on the tv camp classic series, Batman, as Catwoman's assistant, "Pussycat." As an out lesbian (out since 2005), Ms Gore has been a consistent supporter of LGBT issues. She lives with her partner of over 30 years.
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Sarah Dash's rendition of "California Nights" was indeed a powerful one, though better yet was her interpretation of the anthemic classic "You Don't Own Me."
