ABBA on Our Countdown to the New Year

Agnetha, Frida, Bjorn and Benny -- collectively known as the super pop group ABBA -- want to wish us all a Happy New Year in this song they wrote for the holiday. See video below.

Get those horns, bells and noisemakers ready because New Year's Eve is just around the corner!

Rufus Wainwright Asks What You're Doing New Year's Eve

Rufus Wainwright is curious as to whether you're available on New Year's Eve.

Here on my holiday Countdown, he croons Frank Loesser's lovely,  perennial "What Are You Doing New Year's Eve" beautifully.

Only two more days till New Year's Eve. What are you doing? Let us know.

Darlene Love for Christmas Eve on Our 2015 Countdown

A perennial favorite first recorded by Phil Spector in 1963, Darlene Love's
"Christmas, Baby Please Come Home" was written by Ellie Greenwich and Jeff Barry.

As David Letterman used to announce, "It's not Christmas until Darlene Love sings this song."

So, here it is for Christmas Eve on my holiday countdown for the year! Merry Christmas, everyone!

Audio Beaverhausen: Adele's 25

Adele, a fellow Taurean, is now 27. Her new album is 25. Her previous albums were 19 and 21. I wonder if she sits around the house, scratching her head, wondering "What should I call this one?"

One proposed single off 25 is titled "When We Were Young." When was she not?

Adele has slimmed down physically though her voice is as big as ever. She's a married lady with a baby now.

Don't you find it funny that Adele says The Spice Girls were her biggest musical influence? And she's not joking!

As for 25, it may not be her greatest masterpiece as an artist, though it's passionately sung (with lots of echo) and accompanied on piano with lush orchestrations and back-up vocals. But Adele's lyrics of love lost are a bit well worn at this stage in her career. There's something sadly stagnant about this set of soulful torch songs.

Adele would be well advised to move on thematically. A little added Spicey pop would be refreshing, for instance. Still, the album is bound to be a crowd pleaser. Perfect for any pity party. Recommended with reservations.

Audio Beaverhausen: Marcus Simeone's Haunted

Haunted is a haunting album, from November 2011, by Marcus Simeone. Marcus will be returning to the Metropolitan Room in NYC with Tracey Stark in "On Sacred Ground: the Songs of Janis Ian" on November 21st and December 5th, which I will review.

On Haunted, Marcus shows off his versatility and range, kicking off with the award-winning titular song.

Marcus' voice is often compared with Johnny Mathis' with its velvet smoothness. (He's even covered "Misty.") The selection of songs on Haunted is impeccable.

Mr Simeone has performed at many of Manhattan's best cabaret rooms. This particular adult-contemporary album is from the CD Baby label. Whether singing Rogers and Hart or Motown, he puts his individual stamp on each song he sings. The six-time MAC Award winner has released a total of five albums and each one will impress you.

Give Haunted a listen this November, and let it haunt you with its mood, perfect for the fall season. Available at CD Baby, Amazon.com, Barnes & Noble.

Audio Beaverhausen: Everything Is Beautiful with Marcella Puppini

Marcella Puppini's new solo album is every bit as upbeat as its title insists. Everything Is Beautiful is now available through Amazon.com as a UK import though, at the time of this posting, it has temporarily sold out. An American label is expected to release a domestic edition soon.

The new album is from the "queen of electro-swing" But heavy is not the head that wears that crown, as Marcella's wonderful sense of optimism and good cheer is as distinct as it is disarming, something the world ~ and pop music ~ are in need of these days.

Pop culture is very much on Ms Puppini's mind, evident in titles like "Stop Googling Me" and in odes to media icons Betty Boop and Doris Day.

In "Let's Stay in Bed" and "In the Mood for Trouble," Marcella's mischievous side toys with listeners. Everything Is Beautiful's title track is a fabulous modern honky-tonk number that will have you qvelling with delight. [Link below.] Throughout, the singer's sense of tongue-in-cheek, campy humor is very much on display. I'm in her camp!

You can't stay in a foul mood if you listen to this album, I guarantee. Sleekly produced throughout, it makes for a great holiday present and ~ while you're at it ~ snap up one for yourself!

https://vimeo.com/129702371

My Night with Melba Moore and Friends at the Metropolitan Room

It was a night that I, for one, will never forget, and I am sure I'm not the only one.

Bernie Furshpan's Metropolitan Room, on West 22nd Street in Manhattan, was more than just simply a packed house; it was filled to the shaking rafters with an exceptionally appreciative crowd.

It was a love fest. It was a night of diva worship. It was a birthday celebration, as Ms Moore turned 70 yesterday. (Pieces of Melba's birthday cakes were shared with the room.) It was cabaret at its best. It was joy. It was heavenly. It was a part of entertainment history. It was dynamite!

When I entered the club with my pal Nick Lion, my very good friend Kevin Scott Hall was on a queue of people waiting to get in, which I assumed we'd have to join. Kevin was, after all, Melba's press guest and also did a q&a with her.

Nick went to the front desk and lo and behold, our good friend Denise-Spann Morgan of The "Marvelous" Marvelettes had us on her guest list, so we squeezed into her booth. Bernie greeted us in the lobby and ushered us in. It's always nice to see Bernie and his beautiful wife, Joanne, at the club.

Bernie, Joanne & Nick

NYC talk show host Barry Z sat in the booth directly behind me. 

Richard Skipper was also in the house and we got to talk after the show. Always great to see Richard in the house!

I have to admit that I arrived in a bad mood after an awful traffic day into Manhattan. It's Halloween weekend, the Mets are playing, and a truck burst into flames in the Brooklyn Battery Tunnel, closing traffic there and making my commute complicated and my livery car driver nasty and difficult to deal with. But Melba lifted my spirits high with her performance after I finally arrived.

Melba & Me

Hers was an eclectic selection, kicking off with "Don't Rain on My Parade." Melba did her disco hit, "This Is It," sang "I've Got Love" ~ a beautiful number written especially for her, from her Broadway breakthrough Purlie. She even covered The Beatles' "The Long and Winding Road" beautifully. Yes, it has been long and winding for us all.

Melba's dad, who is 100 years old now, even came onstage to play piano and sing with his daughter aside the piano. His gravelly "Satin Doll" was a delight! Melba had some wonderful duets as well.

Fans brought Melba bouquets of beautiful flowers, and gifts. My own Nick and Denise even went up to the stage to give her presents. Can you believe the diva is 70?! She is still a beautiful babe. Melba wore a white, dressy pantsuit with black trim and a train. The top had a peplum to it. She wore heels but doffed them at some point. Actually, somebody took them off for her. Now, that's true divahood!

Melba's fantastic back-up consisted of a three-piece band and three back-up, all-male vocalists. All were superb.

Nick gifts Melba

This was it, and we all  knew it was a good thing. A great thing, in fact! Nothing but kudos and eternal love, Melba! Come back to Metropolitan Room soon.

http://www.melbamoore.com

http://metropolitanroom.com

On the Town with Buddy Beaverhausen: David Meulemans at the Metropolitan Room

It was a copacetic night at the cabaret when David Meulemans performed at the Metropolitan Room with more than just pennies from heaven. Tonight's show was entitled "Lucky to Be Me." "Lucky" was not as plucky, duckies, as it sounds but that was all for the best. For example, David sang a very moving and heartfelt rendition of the classic "Since You Stayed Here." We can be grateful for the tears, too, if they teach us to move on.

The theme of the show was about showing appreciation for all that one has. David's patter was largely amusing and autobiographical in nature, and his singing was flawlessly on pitch and strong, showcasing his professional training as a vocalist.

Tonight's show was directed by Sally Mayes who seemed to bring an energetic spirit to the show that moved it along briskly. David's band consisted of musical director Tex Arnold on piano and Bob Renino on bass.

"Pennies from Heaven" was indeed the opening number, followed by "Life Is Just a Bowl of Cherries," songs most of the audience was familiar with. It moved into less common ground with the stunning ode to his son (an openly gay man, David was previously in a heterosexual marriage, which he briefly discusses), "Extraordinary" and the campy "Nothing On But the Radio," a song involving Marilyn Monroe and... Burt Reynolds!

The Gershwin/Weil "Tchaikovsky" is flawlessly rendered, a difficult number originally done by Danny Kaye, and no easy feat for a singer to say the least. Of course, no show about gratitude would be complete without "Count Your Blessings."

David sensitively sang John Bucchino's "Grateful" for his encore. This show is the kind of wry, sophisticated cabaret we need more of. If you missed out on tonight's performance, David announced he will return at the Metropolitan Room for a four-gig residency. Don't miss out!

Many thanks to press agent Richard Skipper http://richardskipper.blogspot.com for inviting me to this event.

My previous Q&A with David: http://djbuddybeaverhausen.blogspot.com/2015/08/exclusive-q-with-cabaret-crooner-david.html

Exclusive Q&A with Luci Martin, formerly of Chic and Next Step

Luci Martin was one of the voices of the femme-fronted classic-disco group, the immortal Chic. The girls have formed the new girl-group, Next Step. They will also be appearing at 54 Below's brunch celebrating Sarah Dash's 70th birthday! It was my pleasure to have the opportunity to ask Ms Martin some questiions today.

Buddy Beaverhausen: I am so looking forward to seeing you at Sarah Dash's birthday brunch on Sunday at 54 Below. How well do you ladies know Sarah?

Luci Martin: Although I do not know Sarah, personally, very well, I feel as though I have known her since the day I picked up a Labelle Album. She was and will always be an influence in my becoming an artist. Being successful at such a young age, inspired in me the possibilities of a career in entertainment in an expressive and different way.

BB: There's a whole new interest in classic or classic-styled disco music that's been going on. Why do you think that is at this point in time? 

LM: I think it fills a void in today's industry. Sometimes, you just want to dance and feel happy. That is what dance music does for you. We are coming out of a time of hardship, depressed economy and aggressive political views. It can be a bit overwhelming and makes us think of a happier time. I think that the disco style and message embodied a lighter head space and a sense of release. There is also no age requirement for its enjoyment and I feel as though they are key factors in its resurgence.

BB:Nile Rodgers has a new album. You're on a track or two I understand. What was doing that like?

LM: For me, there was a bittersweet element to it. It instantly took me back to the good times we all shared (pun intended) and the relationships we built and yet it was just as strongly a reminder of what has passed and who was missing. For many years, I shared a life with a special group of talented people and the two most important influences in my life were gone. Bernard and Tony. Having the opportunity to record again with Nile and Alfa, along with the ghostly whispers of my best friends was magical for me. Combine that with working along side with old and new friends and the wonderful vocalists now working under the Chic organization is something I will forever feel grateful for.

BB: What can we expect from you on Sunday?

LM: You can expect some Good Times, both literally and figuratively. We are excited to be a part of this and mix a little old with a bit of our new.

BB: You ladies are fantastic! Iconic disco divas yet still on the scene relevantly. What's this about a new song with Aristofreeks?

LM: Our recent release is entitled 'Get On Up' , off the PEM label featuring music by Aristofreeks, and we hope the title and music entices everyone to do just that. Our dear friend Kathy Sledge wrote the lyrics for us.

BB: What's it like to work together as a group for so long?

LM: A lot like riding a bike, lol, after a few adjustments, a reintroduction to how the machine works, it's all forward movement. 

BB: Any forthcoming gigs in the NYC area?

LM: We are working on developing our show, music and letting the public learn who we are as a group, so naturally doing live shows is our ultimate goal. We expect to have a schedule soon which can be found on our web page, www.nextstepmusic.us

BB: What music did you grow up listening to? And what singers influenced you most?

LM: I grew up as a child listening to jazz and opera, my dad loved classical music, but as i grew older, i became a fan of musicals and old movies in black and white for the beautiful classic clothing. I guess that makes it fortuitous that I would end up in a group named "Chic". I later gravitated towards groups like Labelle, Mother's Finest, Mint condition and, of course,  Stevie Wonder. Joplin, Baez, Manchester, Laura Nyro, and a host of country writers also were big influences for me in my writing.

BB: Any contemporary artists you enjoy listening to?

LM: Right now I am a big fan of artists like Jill Scott, India Arie, Sia, Maya and Adele..hmm I just realized I have no men listed haha, well I appreciate them also, but I find the ones who are primarily writers I admire most. Did I mention Amy Winehouse??

BB: Can you tell us anything about your performance at Sunday's brunch?

LM: t will be fun, casual and inviting. A dedication to my sister in song.

BB: Any last shout-outs to my international readership and disco-lovers?

LM: Without you, I am just a dream. Thank you all for being more than just a fan and for the years of support!

BB: See you Sunday and thank you for this interview! Can't wait to meet you.

Audio Beaverhausen: Florence + the Machine's Big, Blue, Beautiful

How Big, How Blue, How Beautiful is Florence + the Machine's new album. It is a beauty, displaying a new maturity in style, composition and production. A stunning, soulful 11-track compilation, Florence and the band are squarely in the territory of British divas like Adele and the late Amy Winehouse. Blissful.

Big, Blue, Beautiful is anthemic for me right now, as I'm vacationing at my cousins' home in Cape Coral, Florida, where sky meets ocean over and along a sprawling landscape. Big, blue and beautiful indeed. I'm sure I'll forever associate this music with my fun- and love-filled week. Also, there's a '60s prog-rock feel to the new album that's brilliantly tres retro/progresso that all generations here are interested in. Love it.

Mid-tempo, Motownish with occasional Spectoresque flourishes, How Big, How Blue, How Beautiful, produced by Markus Dravs, is a gem of a pop album. LGBT fans, in particular, will adore Florence Welch in full classy-diva/rock-star mode. It also makes a very dramatic breaking-up album if you need to gift someone with a hint.

"Ship to Wreck" is a heartbreaking opening track. The title song is wonderful and catchy as all get-out. Love "Queen of Peace." Personally ironic, the penultimate track is "St. Jude," my mother's patron saint. She lived not far from here in southern Florida, on the Gulf. Even more ironic, it is followed by the gospel-tinged song "Mother" that closes the album.

The cd version of How Big contains copious production credits, liner notes and pictures.

Buddy Does GRAMMYs

"Long Way to Hell," sung by AC/D, might not be the best number to kick off another three-hour GRAMMY show. But last night's performances carried things along grandly once Taylor Swift presented Sam Smith with Best New Artist award, the first of his four wins.

Things took off in high style the moment Tom Jones (still sexy) and Jessie J appeared for the tribute to husband/wife songwriting team Barry Mann and Cynthia Weill, who were seated in the house, as J and Jones sang "You've Lost That Loving Feeling."

Nile Rodgers appeared onstage with a very botoxed Smokey Robinson. They presented the Best R&B song award to Beyonce (no surprise) for "Drunk in Love." It was great seeing Paul McCartney accept a Lifetime Achievement award for The Beatles, even if, at his age, you can now plant seeds in the crevices of his face. Definitely no botox there, for sure.

Amongst all the luminaries, Lifetime Achievers, and just plain old folk like Stevie Wonder, Madonna certainly enthralled when she performed "Livin' for  Love," her upcoming single. And she looked swell this year, I must say, during her well-choreographed big production number.

Multi-award winner Pharrell Wiliams seemed Happy, Girl, in bowtie and knickers. Nerdy and rocking the Buckwheat look. Gwen Stefani and Adam Levine did some mediocre song together to a beautiful orchestra of strings and keyboard. Hozier performed with Annie Lennox, who desperately spit out "I Put a Spell on You" as if her career depended upon it.

Miranda Lambert received Best Country Album and sang as if she and her band were on speed. Tony Bennett and Lady Gaga were great in their performance together and won the adult-contemporary (Best Traditional Pop) award. Electronic/dance category was a big drag this year with so many great club tunes overlooked.

The President's ad about violence against women segued, oddly, into Katy Perry's schpiel and song. A little less attention to extreme eye make-up and a little more towards her delivery would have worked wonders. She seemed to have taken make-up tips from Divine, not that that's necessarily a bad thing.

EXCLUSIVE Q&A with The Salvatones Part 2

Since my interview with Sal & Daniel of The Salvatones ran too long for a single post, here is Part 2. I didn't care to further edit this vivacious and thoroughly enjoyable Q&A that was such a pleasure for me to do. I may have to do more live interviews, though I doubt many could be as much fun as this one was.

DBB: How will you each spend your Christmas Day?
DB: At St. Patrick's Cathedral where I am Associate Music Director. I'll play again after going home to crash on Christmas Eve.
SD: And I'll be in that choir.
DBB: Great, reserve me a seat in a pew at St. Pat's!

DBB: What kind of music did you listen to growing up.
SD: Another good question. I had a lot of eclectic influences and that manifests itself in concert. I studied classical but loved pop stuff on the radio. Madonna, The Police.
DB: Petula Clark, Edith Piaf, Beethoven, Beatles, disco, Duke Ellington, Nina Simone, Tina Turner all heard around our house while growing up in France. A lot of American influences.

DBB: When not performing, what do you guys do to relax?
DB: I don't know because music is my life, working and relaxing.
SD: Reading! Fiction, non-fiction, it's a nice way to relax. And I love to cook.

DBB: The best experience for The Salvatones? And the worst?
SD: The best was definitely two years ago at a summit exchange concert, performing along with a Dutch vocal group. It motivated we Salvatones in terms of both our physical stage presence and our sound. It was definitely validation that we were moving in the right direction professionally and artistically.
DB: We were on the right track. The Salvatones were borne by accident, not planning. Frankly, I loved all our experiences and even the rehearsals.
SB: I enjoy that we're in such a close environment working as a group.
DB: Of course, I did have a problem with a vocalist once. After giving her direction, she told me. "I don't agree with you...."
DBB: Ouch! Cheeky.
DB: Yeah, it was a little shocking to me. I told her, "You don't have to agree, you only need to do as you're directed." That was her last gig with us.

DBB: Thank you guys! Terrific interview. So nice to meet and talk to you. I'll be sure to get your new cd and be at your concert in December!

https://www.facebook.com/pages/The-Salvatones/130859726976390?ref=ts&fref=ts

EXCLUSIVE Q&A with The Salvatones Part 1

This Q&A was my first done live. I thoroughly enjoyed this as Sal and Daniel of the Salvatones were such personable persons and our interview was great fun. We were thrown out of PJ Clark's, where I intended to conduct the interview (well, not really, but you can't have a table there and order only coffee). So, we ended up at Toasties across the street, on the upper east side, which the guys liked and so did I. An auspiciously down-to-earth environment for a couple of down-to-earth guys, the founders of The Salvatones. The final edit I did was too long for one post, so I've split it into two parts. The Salvatones' The Many Sounds of Christmas will be performed on December 21st and 22nd at historic St. Peter's Church.

Dj Buddy Beaverhausen: You're both so much younger than I expected! Do you mind if I ask how old you are?
Salvatore Diana: 39.
Daniel Brondel: 44, actually, so we're middle-aged.
DBB: Daniel, do I detect a European accent?
DB: Yes, I was born and raised in France.

DBB: Holiday season's upon us and, with it, The Many Sounds of Christmas. What can you tell us about your show?
DB: As the title implies, it's a concert with different manifestations of Christmas music also featuring organ, a string orchestra along with our vocal ensemble.
SD: There are so few downtown offerings in lower Manhattan, so this is something unique.
DB: Something fresh and new downtown.
SD: Which is experiencing a major housing and business boom right now, so it's a perfect time for our show.

DBB: I understand your first cd is also about to be released.
SD: "Wonderful World" is the title of it. We cover that classic Louis Armstrong song on it in a totally fresh, new style. The album captures all our signature repertoire with something for the holidays. All things classical, jazzy and songs about New York City (arranged by Daniel). He reconstructed "Sidewalks of New York...."
DB: There's currently no sheet music...
SD:  Reconstructed it from an existing NYC Public Library copy of the refrain and listened to various singers throughout the 1920s-40s and arranged the whole thing for acapella choir.
DB: It's eclectic and a perfect introduction to the group. All of our singers are classically trained.

DBB: When and how did your group come together?
SD: It was founded by Daniel and I. My day job is creative director at an ad agency. My boss was looking for a small vocal group and I pulled one together. I needed to name it, expecting it would be a one-night thing.
DB: We had such a blast, we decided to keep doing this.
SD: This was all about five years ago. And we had such positive feedback, we decided to bring in a few more singers and build our repertoire. This year, we became a non-profit organization.
DB: Ours was a creative experiment to cross the barrier that makes classical a niche market.
SD: We've also, partnered with other ensembles. Like, this year, the string orchestra.

DBB: You also do private parties and corporate events. How does the experience of performing at these various functions onstage differ from being in concert?
DB: Good question. It depends on the event, I think. For example, we sang at two weddings where we were to be heard but not seen.
SD: Trying to create an experience, not to star at these events.
DB: Music has so many different functions in our lives.

[More to come in Part 2. Not to be missed!]

Audio Beaverhausen: Barry Manilow's Duets with The Dead

Barry Manilow's My Dream Duets is my Welcome to My Nightmare.

I appropriately listened to it in the privacy of my inner sanctum on Halloween night as it's, frankly, a ghoulish endeavor ironically timed for release the Tuesday before Halloween.

While I was rather appalled by the karaoke approach of Barbra's duet with dead Elvis on her latest album, I'm mortified times 11 listening to unwilling participants unable to decline the opportunity (or accept) to do these duets with Mr Manilow.

Mostly, these "collaborations" seem, at the very least, unnecessary. I mean, do we really need to hear Barry barge in on Mama Cass' "Dream a Little Dream of Me" (with this crass Cass intro: "And now to sing this lovely ballad: ME and Mama Cass!") or Frankie Lymon's doo-wop version of "Goody Goody"?

Our boy Barry is now 71 and I suppose the dream of these duets is to meet these artists in the hereafter and put on really divine performances, rocking the clouds. Mr M's voice, while retaining its smooth styling and sense of show-biz pizzazz, shows strain on some tracks (most evident on "Sunshine on My Shoulder" "with" John Denver) though his redeeming virtue is distinctly his arranging and production throughout.

Perhaps the most successful duet is the first with Jimmy Durante ("The Song's Gotta Come from the Heart") , especially in the cleverly spoken intro. And the Manilow meets Dusty Springfield "The Look of Love" is actually touching.

Too much of this album gave me the distinctly uncomfortable feel of necrophiliac opportunism, especially the songs done with Whitney Houston, Andy Williams and Marilyn Monroe.  "What a Wonderful World" with Louis Armstrong closes the album but is a completely irrelevant track. And "The Candyman" duet with Sammy Davis Jr.? Ridiculous. High camp for years to come.

While the album was perfect for my Halloween night in a perverse way, it may not be so perfect for other nights. This is, in the end, recording industry zombie-ism, aurally bringing back the dead, remixed, and ready to eat our very souls.